An internal layer manager that stacks up to 8 variations of the current preset (different grain settings, pitch, pan, volume). The Swarm knob spreads them in stereo field and time‑randomizes their onset. Use it to generate dense clusters, ambient choruses, or evolving textures that never repeat the same combination twice.
Use the "MIDI Out" function in Kontakt. Record the Poly-Mutator’s rhythmic triggers as MIDI data. Drag that MIDI clip onto a Serum or Vital synth. Now you are using Opacity II’s complex sequencer to control a wavetable synth—the best of both worlds.
The most groundbreaking feature of Opacity II is the Poly-Mutator. This is not a random button; it is an intelligent randomization engine. You can tell the Poly-Mutator to randomize only the filter cutoffs, or only the sequencer steps, or only the panning of layers. It allows you to generate 100 completely new patches from a single preset without ever leaving the ballpark of the original sound’s character.
Elara hadn’t spoken to a living soul in three days. The walls of her Berlin studio, usually a collage of synth cables and coffee cups, had narrowed to the 27-inch screen in front of her. She was scoring the fade-out. The death of a protagonist. Not a violent death—no, that was easy. This was the slow, granular death of memory, where a character realizes they are no longer angry, no longer sad, just… translucent.
She had tried everything. A lonely cello was too human. Pure sine waves were too clinical. Granular synthesis felt like digital shrapnel. She needed a sound that decayed with dignity. A sound that didn't end, but rather, lost interest in being a sound.
That’s when she dragged Audiomodern Opacity II into her Kontakt instance.
At first glance, it was deceptively simple. A blank slate. Two layers. A waveform window that looked like a calm sea. But then she saw the engine. The Opacity engine. It wasn't a delay. It wasn't a reverb. It was a memory leak—a beautiful, controlled accident.
She loaded a single piano chord. A major seventh, dripping with nostalgia. She hit the master switch for Layer A.
Nothing happened. She played the chord again. It rang out, pure. Then, on the third repetition, she heard it: a whisper. The piano note, folded into itself, stretched into a ribbon of sound that seemed to breathe. She twisted the Opacity dial from 0 to 40%. The original piano began to fade, but its ghost grew louder. The engine was listening to the input, slicing it into microscopic grains, and then forgetting the original attack while remembering the texture. Audiomodern Opacity II -KONTAKT-
It was terrifying.
She turned the Feedback up to 70%. The ghost began to multiply. What was once a single piano became a choir of dying pianos, each one slightly detuned, each one lagging a millisecond behind the last. The Diffusion knob, set to 60%, smeared the edges. It wasn't a wash of sound anymore. It was a climate.
Elara leaned in. She noticed the Glitch matrix. A grid of blue LEDs. She randomized it. Suddenly, the beautiful decay stuttered. A fragment of the chord—the third, the note of longing—repeated three times, like a skipped heartbeat. Then silence. Then the ghost returned.
This wasn't an effect. This was a narrator.
She began to write. She fed Opacity II a field recording of rain on a window. The engine turned it into the static of a dying star. She fed it a single word—"Stay"—spoken softly. Opacity II stretched that vowel into a 30-second drone that modulated between hope and resignation. The Filter section, with its variable slopes, let her carve out the frequencies of grief: roll off the bass (the stability), boost the mids (the anxiety), let the highs crackle like old film.
By midnight, she wasn't controlling Opacity II. She was conversing with it. The engine had a personality: melancholic, patient, slightly broken. The Modulation section, with its assignable LFOs, made the Opacity depth breathe. The ghost would get close, almost transparent, then retreat into the floor.
She realized the genius of the name. Opacity II wasn't about how loud or quiet a sound was. It was about how present it was. How much reality it was allowed to have.
For the death scene, she wrote a simple pattern. Two chords. A major, then a minor third down. She automated the Opacity dial to creep from 0% to 100% over 45 seconds. As the actor on screen closed their eyes, the original instrument—the "real" sound—vanished entirely. All that remained was the output of Opacity II's engine. A decaying, glitching, granular echo. An internal layer manager that stacks up to
The protagonist didn't die. They opacified.
When the director heard the cue, he wept. He asked what synth she used. She said, "It's not a synth. It's a philosophy."
Later that night, alone, she loaded a final sample into Opacity II. Her own breathing. She turned the Opacity to 100%, feedback to 80%, diffusion to maximum. She hit play and listened to her own lungs turn into a slow, arctic wind. For a moment, she felt utterly alone.
But then, buried in the noise floor, in the random grains of the Glitch engine, she heard something she didn't record. A faint melody. A third chord. A whisper of a voice that wasn't hers.
She smiled, saved the preset as "The Ghost in the Machine," and closed her laptop.
Opacity II wasn't an instrument. It was a mirror for entropy. And in the reflection, Elara finally heard the sound of letting go.
Audiomodern Opacity II is a boutique cinematic guitar library designed for emotional underscoring, sound design, and ambient music. It provides a diverse palette of professional six-string performances, ranging from rhythmic sequences to atmospheric swells. Key Features
Performance Engine: Built around 14 musical "sessions," each containing four layers of content: Chords, Phrases, Sequences, and Swells. The most groundbreaking feature of Opacity II is
Interactive Keyboard Layout: The interface uses a color-coded keyboard where different octaves trigger different performance elements, allowing for real-time layering.
New Performance Mode: Unlike the original version, Opacity II includes a mode to play the multisampled guitars chromatically across the keyboard.
Sound Design Tools: Features 11 different cabinet models, a custom convolution reverb engine, and individual effect chains (delay, stutter, glitch, drive) for each layer.
Reverse Mode: Instantly transforms performances, such as turning swells into atmospheric risers. Technical Specifications
Pros:
Cons:
Visually and sonically, Opacity II embraces an aesthetic of "beautiful decay." The sounds are often drenched in analog warmth, utilizing tape saturation and harmonic distortion to provide a low-end weight that modern digital recordings often lack.
This is particularly effective for composers working in the realms of neo-noir, documentary film, or ambient post-rock. The library excels at providing the "glue" for a mix. It sits comfortably in the background, providing a wash of color, but when soloed, it reveals a surprising amount of detail and nuance. It is an instrument that rewards the use of modulation wheels and expression pedals, allowing the composer to ride the dynamics like a conductor guiding an orchestra through a slow adagio.