So something BT and I insisted upon as media composers ourselves (albeit in different leagues!) was that it was quick to use and versatile out of the box for people who don't have time initially to tweak. One thing we found is that is an absolute rabbit hole of a piece of kit, so many possibilities. The equivalent of over 70 beats from the nu skool by our back of the cigarette packet calculations.

It is wise to remember that these aren't multi-mic'd-multi-sampled-round-robiny sounds, these are single hits, 8 bar loops, really really lite on memory, so when you factor that out to 20GB you're talking an ark worth's of amazing original BT material. However the key feature that is easy to brush over is the simply biblical amount of content made by BT. BT said that Richard Devine said he was making sounds he's never heard before which is a massive compliment to BT's innovation. Coupled with a realtime ability to convolve the source sound differently between the different convolvers makes for a unique set of possibilities that have particular appeal to film,tv,games composers as you can energise your cues with molecular loops that don't feel loopy and can shift transform and bend in a near infinite number of ways, not just with an HPF (although the engine has those too). Then vice a versa, atmos's can be loaded as source sounds as well as loops. So loops can be loaded in as convolutions as can tones and atmos's.

I'll clarify a few things, whilst there are four source sounds and three convolvers you browse from the same pool of sounds.

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