If you ever needed a library for your UVI Workstation or some genuine ear candy to get you you back into the almost bottomless depths of your Falcon, then MeteorFX is probably what you’ve been looking for. It’s really one of the least complex UVI Sound Libraries that you’ll find – yet it has a wealth
of incredible material on board. I should really start by telling you what Meteor is. In a nutshell I would have to describe it as an enormously well stocked Riser and Impact library with a luxurious complement of sound design-focussed controls – but that almost feels inadequate as a description.
“…MeteorFX is probably what you’ve been looking for.”
This library could have so easily just come and gone in an unremarkable flurry of indifference at the played out subject matter but this is where inspiration comes in and believe me, MeteorFX has inspiration in
spades. From the second you load the .ufs file into your workstation you are greeted by it. The interface is simply beautiful yet absolutely functional and a cinch to find your way around.
“… believe me, MeteorFX has inspiration in spades.”
Layers on Layers
Above: The Impact mixer
It’ll be no surprise to any sound designers out there when they open this software and they are exposed to its colorful exoskeleton. The word of the day is simply, Layers. There are three mixer channels for the RISER section and FOUR for the IMPACT section. Each mixer channel denotes a component layer of the full sound and the full sound is a riser followed by an impact. Although you cannot import your own samples into MeteorFX it’s really not something I thought too much about. The onboard content is so strong and well presented that it’s almost inconcievable that you might ever run out of textures or colors.
“The onboard content is so strong and well presented .”
From each mixer channel you can power on or off, adjust PAN and VOLUME as well as utilize the REVERB and DELAY SENDS whilst in the small box beneath each of those seven channels there is a fat channel-esque menu
that will pop up allowing you to adjust MOD curves, choose a DISTORTION flavor and dial in the amount as well as pick and adjust a FILTER type and play with the pitch. The layout is ridculously elegant and accessible.
“The layout is ridculously elegant and accessible.”
It should also be mentioned that you do have great access to those very important layer samples and you can either click left and right (to go forward or back) whilst in the mixer channel, click in the middle to peruse the massive and immaculately organized sample drop down or simply use the RANDOMIZE function to throw it all against the wall and see what happens.
I just love the simplicity and effectiveness of the onboard LFO. It’s great for working some drama into the sounds. and you can set it up in a milisecond.
The MOTION FILTER is exactly that. think of AutoFilter in Ableton. Set the cutoff, frequency and resonance and use the shape graph to get it moving.
“I just love the simplicity and effectiveness of the onboard LFO.”
MOTION PAN deffo deserves an honorary mention as it is just another cunning way to keep elements or layers of your risers and impact tails on the move and therefore interesting to the casual observer.
Again, the implementation is a joy to use providing sumptuous feedback as you click or draw or again, you can pick from an intelligently designed preset drop down or simply randomize.
“Again, the implementation is a joy to use providing sumptuous feedback as you click or draw.”
As with anything UVI, all of the onboard effects are pretty much faultless. There is the usual massive compliment of high quality onboard REVERN and DELAY, a simple but very effective EQ and a lovely Haas based WIDTH control. Any of these modules can be turned off if not needed whilst the whole time the all important VOLUME and THRUST control that dominate the main GUI are iterated top center, to save you the trip.
That THRUST control is basically a parallel bus chocked full of Nasty – multiband compression, aural exciters and all kinds of naughtiness. it gives your output that Trailer/Stinger intensity and it legitimizes your layer work by gluing everything together at the output. There is so much to feel good about with MeteorFX and I haven’t even mentioned the fact that you can set your riser time up to 32 bars – which can then become a motivated ambience (if you’ve put the right layers together) or the fact that you can independently adjust the crossfade and offset of the corresponding impact to plus or minus – flexibiltiy just abounds in this Soundbank.
“That THRUST control is basically a parallel bus chocked full of Nasty…”
MeteorFX is an absolute slam dunk for UVI. Their sound design just gets better and better but it’s the implementation and the sheer useability of their products that keeps winning us over.
MeteorFX is about to become the Trailer composer’s filthiest little secret – it’s a Stinger-machine by any other name and we’re dying to see what’s next in the UVI ‘FX’ line.
“MeteorFX is about to become the Trailer composer’s filthiest little secret…”
Compatible on Mac OS 10.8 and above
VST, AU and AAX Native and Standalone
Compatible on Windows 7 or Later
VST and AAX Native and Standalone
.:Required Hard Disk Space:.
.UFS SoundBank 7GB
- Great presets
- 3 activations per license!
- Non user-expandable Library
- Not a dedicated plugin
- Large HDD Footprint