After a long wait, Westwood Instruments is back when a brand new release: Novella Carbon. This third entry in the very popular Novella series is a complete toolkit of diverse organic and hybrid electronic instruments. This time, the developer steps into a darker and more experimental world. Where Novella Blackwater evoked grandiose landscapes and delicate textures, Novella Carbon dives into a gritty, industrial and nuanced dystopian aesthetic, inspired by Trent Reznor, Atticus Ross and Ludwig Göransson.
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Novella Carbon is designed around two colliding worlds. On one side, it features a comprehensive collection of electronic and hybrid samples, including synths, modular drums, drones, and pulses, all carefully created by composer and sound designer Matt Bowdler, better known as The Unfinished, who worked alongside A-list Hollywood composers Hans Zimmer and Lorne Balfe on movies like Dune, The Creator, and No Time To Die. On the other side, we find a stunning chamber string ensemble sampled with a complete range of articulations, from true legato to more avant-garde techniques. Other organic instruments round up the package, such as an electric guitar and bass, an upright piano and last but not least, vocals from solo performer Jemma Freese.
As with previous releases, all performers were recorded at The Nave studio in Leeds, UK. Given the studio’s rich acoustics, the library has a raw and emotional sound signature, fully in line with the rest of the Novella series.
Novella Carbon is designed for Kontakt and Kontakt Player version 7.10 (or higher) and is, like its predecessors, fully NKS compatible. As with previous releases, the library can be downloaded by using the free Pulse downloader tool and registered in Native Access. All in all, Novella Carbon requires 48 GB of hard drive space.
Novella Carbon – Recording Sessions (photo by Westwood Instruments)
INTERFACE
Carbon maintains the layout established in previous Novella chapters. The interface features a distinctive textured aesthetic while preserving Westwood Instruments’ signature readability.
Upon loading an instrument in Kontakt, the initial page displays all essential controls in one view. The articulation selector occupies a prominent position in the interface. Since the articulations use unique naming conventions, graphical icons indicate each technique visually, allowing users to select articulations intuitively without consulting the manual.
Novella Carbon – Main Interface
The left side contains the navigation menu, while the bottom section houses expression and dynamics controls, microphone signals, and mix settings. Advanced parameters for each technique are accessible via the pen icon in the top right corner. This menu allows adjustment of dynamic control, ADSR, sample tightness, and round robin selection. Dynamics can be controlled via modwheel or velocity.
Novella Carbon – Master FX
The second page of the interface contains the master effects. Common effects such as EQ, reverb, delay, and stereo width are included. New effects like Degrade and Tape allow for resampling and scraping of the sounds, which gives them a nice additional layer of grit. Like previous Novella libraries, Carbon includes a transpitch control. This feature pitches samples down and back up, resulting in a tonally accurate note but with a darker timbre.
Novella Carbon – Advanced Settings
Finally, the third page contains additional settings like velocity sensitivity, keyswitches and purge controls. Here, users can purge unused articulations from loading to save memory, which is especially useful for building larger scoring templates that contain many instruments and articulations.
SOUND AND CONTENT
Novella Carbon is organized into 13 Kontakt patches, providing clear structure across its diverse content and streamlined navigation:
Novella Carbon – Patch List
The library inspires creative exploration and unexpected musical directions. I composed a short demo showcasing a broad range of sounds from the library (all sounds are from Novella Carbon, except the violin, viola, and cello spiccatos).
Let’s have a listen and talk about the different patches I have used.
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Let’s start with the strings. The track begins with a drone created using the high strings’ Spectral articulation. This patch sounds beautifully fragile and soft, similar to a flautando articulation. It is perfectly suited for sound manipulation, and I have applied Carbon’s own processing effects to it in order to give the track a haunting vibe.
Later on in the track, the melody is played by the high string long articulation and doubled by the Helix Ensemble patch. Both have been run through post-processing using the library’s own effects to turn them into an electronic lead sort of thing, instead of maintaining a natural string phrase. After the introduction, I added a low string section. It has been left unprocessed as it sounds naturally far-reaching and deep, as a result of the amazing acoustics of the studio it was recorded in.
All in all, the chamber string ensemble sounds enjoyably bright and detailed. Its intimate sound signature is very reminiscent of previous Novella libraries’ string sections. In this new release, the seating layout is unusually wide, giving the impression that the ensemble is bigger than it really is. The set of recorded articulations is interesting as well and again complements those of previous Novella entries nicely, without any overlap.
Particularly interesting are the recorded LFO-like figures, where the players emulated a sonic “back and forth” through their coordinated playing in the studio. There are also quite a few interesting techniques involving up and down figures, which users can affect through the interface’s controls. Novella Carbon’s detailed recordings make the samples highly suitable for post-processing, which I found to be a significant advantage of this library.
Novella Carbon – Recording Sessions (photo by Westwood Instruments)
A couple more notable organic elements are featured in my demo as well. First, I have used the Ember Hidden Piano articulation as a foundation of the track. This patch has more of a subdued sound, which really fits dark and dystopian tracks. I also reversed some of its notes to add to the haunting ambience of the track.
Moving towards the climax, the drums join in. The drum kit supplied with Novella Carbon comes in two flavours: one lively and punchy (“Rock kit”) and the other much more restrained (the so-called “Dead Kit”). I have used the former in the climax and applied some compression. The drum kit is sampled comprehensively and sounds very close and detailed, once again thanks to the studio acoustics. A satisfying number of round robins and dynamics are present as well, which makes playing the drums on a keyboard a joy.
Finally, I have used one of the library’s vocal articulations as a riser of sorts at the end of the climax. Here again, the vocal section of the library has a refreshing selection of original techniques, which sets Novella Carbon apart from others. The voice of performer Jemma Freese is very pleasant and easy to work with. Rounding up the organic instrument selection are an electric guitar and bass, which I have not featured in the track. These come with various sustains, motors and power chords, which are very useful for adding more raw energy to a composition.
The track’s other major component utilizes the synth elements: a core feature of the library developed in collaboration with The Unfinished. I incorporated electronic drums to complement the acoustic drum kit and create a hybrid aesthetic. These are available as loops or one-shots; I used the latter. I also crafted a sub boom from this selection, deployed at various points to add dynamics and weight to the track.
The main melody lead created from the string sections earlier is also augmented by the Hyve, a swarmatron-like patch, to make it sound even thicker. This is a quick and effective technique, and the library offers extensive customization options. The remaining synth elements include various pulses, which I layered together.
Looking at the library in its entirety, Novella Carbon’s sampled synth content is extremely varied and impressive. On top of the patches I have used, it also features several atmosphere instruments, tempo-synced loops, many one-shots, etc. The sound quality is stellar, and composers will easily recognize The Unfinished’s touch all over the samples. This being said, I think the library would be worth it for these sounds alone.
In terms of acoustics, Novella Carbon’s instruments come with different sets of mix signals. Some organic instruments include a classic set of four microphones, spot/close, room, gallery and outriggers, while others have ready-to-use mixes as well. Some also include post-processed signals. Considering the acoustics of The Nave studio, the closest signals sound extremely dry and direct, very useful to cut through a mix or add details, while the others balance them nicely.
CONCLUSION
After playing around with Novella Carbon for a bit now, it becomes clear that the third chapter of the Novella series delivers all its promises. Novella Carbon comes with an impressive amount of content, all revolving around its dark and dystopian theme. The collaboration with acclaimed sound designer and composer Matt Bowdler, alias The Unfinished, led to a great-sounding palette of unique synth samples that spark inspiration.
Featuring the unique and characteristic Westwood Instruments sonic signature, its recordings and samples are impeccable. With a massive variety of patches, from organic to hybrid, it sets itself apart as a well-crafted, deeply atmospheric scoring toolkit.
For composers and producers drawn to this dark, hybrid and experimental sonic world, this latest Novella chapter, for me, is a must-have.
Pros
Excellent user interface
Massive amount of sample content
Unique playing techniques and articulations
Sounds are perfectly suited to Carbon's dark theme
Cons
Slightly more specialized than the previous chapters
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After a long wait, Westwood Instruments is back when a brand new release: Novella Carbon. This third entry in the very popular Novella series is a complete toolkit of diverse organic and hybrid electronic instruments. This time, the developer steps into a darker and more experimental world. Where Novella Blackwater evoked grandiose landscapes and delicate textures, Novella Carbon dives into a gritty, industrial and nuanced dystopian aesthetic, inspired by Trent Reznor, Atticus Ross and Ludwig Göransson.
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More InformationOVERVIEW
Novella Carbon is designed around two colliding worlds. On one side, it features a comprehensive collection of electronic and hybrid samples, including synths, modular drums, drones, and pulses, all carefully created by composer and sound designer Matt Bowdler, better known as The Unfinished, who worked alongside A-list Hollywood composers Hans Zimmer and Lorne Balfe on movies like Dune, The Creator, and No Time To Die. On the other side, we find a stunning chamber string ensemble sampled with a complete range of articulations, from true legato to more avant-garde techniques. Other organic instruments round up the package, such as an electric guitar and bass, an upright piano and last but not least, vocals from solo performer Jemma Freese.
As with previous releases, all performers were recorded at The Nave studio in Leeds, UK. Given the studio’s rich acoustics, the library has a raw and emotional sound signature, fully in line with the rest of the Novella series.
Novella Carbon is designed for Kontakt and Kontakt Player version 7.10 (or higher) and is, like its predecessors, fully NKS compatible. As with previous releases, the library can be downloaded by using the free Pulse downloader tool and registered in Native Access. All in all, Novella Carbon requires 48 GB of hard drive space.
INTERFACE
Carbon maintains the layout established in previous Novella chapters. The interface features a distinctive textured aesthetic while preserving Westwood Instruments’ signature readability.
Upon loading an instrument in Kontakt, the initial page displays all essential controls in one view. The articulation selector occupies a prominent position in the interface. Since the articulations use unique naming conventions, graphical icons indicate each technique visually, allowing users to select articulations intuitively without consulting the manual.
The left side contains the navigation menu, while the bottom section houses expression and dynamics controls, microphone signals, and mix settings. Advanced parameters for each technique are accessible via the pen icon in the top right corner. This menu allows adjustment of dynamic control, ADSR, sample tightness, and round robin selection. Dynamics can be controlled via modwheel or velocity.
The second page of the interface contains the master effects. Common effects such as EQ, reverb, delay, and stereo width are included. New effects like Degrade and Tape allow for resampling and scraping of the sounds, which gives them a nice additional layer of grit. Like previous Novella libraries, Carbon includes a transpitch control. This feature pitches samples down and back up, resulting in a tonally accurate note but with a darker timbre.
Finally, the third page contains additional settings like velocity sensitivity, keyswitches and purge controls. Here, users can purge unused articulations from loading to save memory, which is especially useful for building larger scoring templates that contain many instruments and articulations.
SOUND AND CONTENT
Novella Carbon is organized into 13 Kontakt patches, providing clear structure across its diverse content and streamlined navigation:
The library inspires creative exploration and unexpected musical directions. I composed a short demo showcasing a broad range of sounds from the library (all sounds are from Novella Carbon, except the violin, viola, and cello spiccatos).
Let’s have a listen and talk about the different patches I have used.
You are currently viewing a placeholder content from Default. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
Let’s start with the strings. The track begins with a drone created using the high strings’ Spectral articulation. This patch sounds beautifully fragile and soft, similar to a flautando articulation. It is perfectly suited for sound manipulation, and I have applied Carbon’s own processing effects to it in order to give the track a haunting vibe.
Later on in the track, the melody is played by the high string long articulation and doubled by the Helix Ensemble patch. Both have been run through post-processing using the library’s own effects to turn them into an electronic lead sort of thing, instead of maintaining a natural string phrase. After the introduction, I added a low string section. It has been left unprocessed as it sounds naturally far-reaching and deep, as a result of the amazing acoustics of the studio it was recorded in.
All in all, the chamber string ensemble sounds enjoyably bright and detailed. Its intimate sound signature is very reminiscent of previous Novella libraries’ string sections. In this new release, the seating layout is unusually wide, giving the impression that the ensemble is bigger than it really is. The set of recorded articulations is interesting as well and again complements those of previous Novella entries nicely, without any overlap.
Particularly interesting are the recorded LFO-like figures, where the players emulated a sonic “back and forth” through their coordinated playing in the studio. There are also quite a few interesting techniques involving up and down figures, which users can affect through the interface’s controls. Novella Carbon’s detailed recordings make the samples highly suitable for post-processing, which I found to be a significant advantage of this library.
A couple more notable organic elements are featured in my demo as well. First, I have used the Ember Hidden Piano articulation as a foundation of the track. This patch has more of a subdued sound, which really fits dark and dystopian tracks. I also reversed some of its notes to add to the haunting ambience of the track.
Moving towards the climax, the drums join in. The drum kit supplied with Novella Carbon comes in two flavours: one lively and punchy (“Rock kit”) and the other much more restrained (the so-called “Dead Kit”). I have used the former in the climax and applied some compression. The drum kit is sampled comprehensively and sounds very close and detailed, once again thanks to the studio acoustics. A satisfying number of round robins and dynamics are present as well, which makes playing the drums on a keyboard a joy.
Finally, I have used one of the library’s vocal articulations as a riser of sorts at the end of the climax. Here again, the vocal section of the library has a refreshing selection of original techniques, which sets Novella Carbon apart from others. The voice of performer Jemma Freese is very pleasant and easy to work with. Rounding up the organic instrument selection are an electric guitar and bass, which I have not featured in the track. These come with various sustains, motors and power chords, which are very useful for adding more raw energy to a composition.
The track’s other major component utilizes the synth elements: a core feature of the library developed in collaboration with The Unfinished. I incorporated electronic drums to complement the acoustic drum kit and create a hybrid aesthetic. These are available as loops or one-shots; I used the latter. I also crafted a sub boom from this selection, deployed at various points to add dynamics and weight to the track.
The main melody lead created from the string sections earlier is also augmented by the Hyve, a swarmatron-like patch, to make it sound even thicker. This is a quick and effective technique, and the library offers extensive customization options. The remaining synth elements include various pulses, which I layered together.
Looking at the library in its entirety, Novella Carbon’s sampled synth content is extremely varied and impressive. On top of the patches I have used, it also features several atmosphere instruments, tempo-synced loops, many one-shots, etc. The sound quality is stellar, and composers will easily recognize The Unfinished’s touch all over the samples. This being said, I think the library would be worth it for these sounds alone.
In terms of acoustics, Novella Carbon’s instruments come with different sets of mix signals. Some organic instruments include a classic set of four microphones, spot/close, room, gallery and outriggers, while others have ready-to-use mixes as well. Some also include post-processed signals. Considering the acoustics of The Nave studio, the closest signals sound extremely dry and direct, very useful to cut through a mix or add details, while the others balance them nicely.
CONCLUSION
After playing around with Novella Carbon for a bit now, it becomes clear that the third chapter of the Novella series delivers all its promises. Novella Carbon comes with an impressive amount of content, all revolving around its dark and dystopian theme. The collaboration with acclaimed sound designer and composer Matt Bowdler, alias The Unfinished, led to a great-sounding palette of unique synth samples that spark inspiration.
Featuring the unique and characteristic Westwood Instruments sonic signature, its recordings and samples are impeccable. With a massive variety of patches, from organic to hybrid, it sets itself apart as a well-crafted, deeply atmospheric scoring toolkit.
For composers and producers drawn to this dark, hybrid and experimental sonic world, this latest Novella chapter, for me, is a must-have.
RECOMMENDED: 9/10
Novella Carbon is available for an introductory price of €244 (regular price: €349) through Westwood Instruments’ online shop.
COMPREHENSIVE LIBRARY WALKTHROUGH
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More InformationSCORING WALKTHROUGH OF NOVELLA CARBON
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