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When working in the creative industries, it's important to find out what inspires you. Be it a song, a word, a video, or even an image, inspiration is as boundless as art, you can find it anywhere, even when you're least expecting it. This week, we are going to explain how we created a soundscape that was inspired simply by the image above.
November 23, 2021
When thinking about the deepest depths of the ocean, you may only picture a dark and desolate landscape devoid of sunlight and life. While you may be correct about the sunlight, the darkness holds an assortment of unimaginable creatures, living in a world that is as equally fascinating as Outer-Space. In this environment, many small creatures use a form of light emission called 'bioluminescence', where a chemical reaction in their bodies allow them to emit light, such as with the Jellyfish above.
The soundscape began with the idea of representing the contrast between the bioluminescent creatures and their pitch black surroundings. For the ocean, we decided to use a droning pad sound created through the use of sampling, looping and tuning so that any note played could be sustained for as long as desired. For the entire duration of the track, only 3 notes were held with this specific sound, however only the lowest note is heard always, the second note an octave above and the third note two octaves above were automated so that their levels would modulate over time, independent of each other.
This gives the soundscape an almost ethereal and otherworldly feel, with brighter textures flowing in and out like slow waves. Keeping the lowest note audible persistently may cause the listener to perceive a small, constant pressure in their ears, as if they were underwater. This sound was bandpass filtered quite heavily with an EQ to eliminate any frequency content past the high-mids, we wanted the pad to represent the lower end of the frequency spectrum so we cut out higher frequencies to make room for other sounds.
For the bioluminescent creatures, we wanted to use sounds that would occupy the higher end of the frequency spectrum, this was achieved by pitch-bending several shimmering chime samples. This, combined with convolution reverb created a nebulous and somewhat wispy sound effect, we believed this represented an entity floating in a vast open space, which fit perfectly for the small creatures. These sounds were panned to give the effect of the creatures having different positions within the stereo space of the listener.
To increase the level of immersion within this piece, some semblance of realism had to be present. This was done with the inclusion of bubbling sounds, to give the effect of creatures swimming near the listener, these samples were processed with an EQ to remove higher frequencies, and the lower frequencies on the samples were given a lower amount of stereo separation, as humans naturally are less able to perceive the direction of lower frequencies coming from a source. Convolution reverb and a delay was used to extend the length of the sound's tails, this also added to the underwater effect.
Finally, we wanted to create a sound that was both semi-realistic and artificial, so we recreated the haunting sound of a whale song. This sound was very simple to create as it only required a sine wave and an envelope, a long attack into a note which then uses legato to slide into another note. This, combined with a significant amount of convolution reverb resulted in a close approximation of the sound of a whale communicating, and when fit into the soundscape added an indescribable kind of uneasiness.
To conclude, we wanted to show how a simple image could give enough inspiration to put together a completely original soundscape based on its connotations as well as ideas related closely to it.
Take a listen to the soundscape below, we hope you enjoy!
If you enjoyed this article please check out our ultimate guide to audio post- production: https://www.344audio.com/post/the-ultimate-guide-to-audio-post-production-sound-design
Earlier this month, SampleTraxx released a sound pack called WOOSH. A collection of 116 high energy sound effects that can be used for cinematic transitions, impacts, movements and of course, whooshes.
November 23, 2021
Company: SampleTraxx
Product: WOOSH
Price: €29
Our Rating: 4.5/5
When opening the review copy, it contained two main folders. One containing documentation, such as the licensing agreement PDF, sound list and the stunning cover images for the pack. Another containing all of the Kontakt instruments, resources and samples to work with.
All audio files within the Samples folder are 24 Bit 96kHz WAV, however all of the audio files within the IR samples folder in resources are 24 Bit 48kHz WAV.
What is immediately noticeable when listening to the sound effects in this pack, is that each sound has a strong yet tame balance of power and punch. The lower frequencies are balanced to be at their most effective without overpowering the mid and high frequencies, this also means that there is less EQ work that needs to be done in order to fit the sounds into a soundscape coherently.
Another thing we noticed is that most of the sounds are processed in a way that makes them easy to place into a soundtrack with little to no added processing needed. This is very useful when working with more time-sensitive projects as they allow for more time to be spent on other more complicated sounds.
This pack includes 5 Kontakt instruments and an additional INIT instrument that allows for the real time editing and manipulation of the samples in the pack, these instruments utilise SampleTraxx's Photosynthesis engine. The INIT instrument allows for the manipulation of the user's own samples.
One small issue we had with this sound library was that their heavy processing limits the users capability to use the WOOShes for situations where you need a closer sound. We mostly used it to accentuate punchs and gunshots in an effects heavy film, and it blended there perfectly, adding some stereo width to sometimes more bland mono hits. This was clearly intentional from Sampletraxx, to ensure that the sounds are 'production ready'. Take a look at the FREE mini pack below, and we're sure it will wet your appetite.
We've been using WOOSH heavily on a feature film project to accentuate transitions, fight scenes, car effects and more. We are very happy with this product and we'd recommend it to anyone who works on films, trailers or composes epic music.
Check out SampleTraxx's new bundles page with various special offers
Detunized are a German company who have been developing compact sound libraries and Ableton Live Packs since 2009. Their Urban Crows bring the gritty, haunting and wonderful sounds of these birds into your projects.
November 23, 2021
Company: Detunized
Product: Urban Crows
Price: $38 (HD Version)
Our Rating: 4.5/5
On opening the review copy, we were greeted with a rather simple and neat folder hierarchy, containing metadata, licence agreements and a greeting PDF with details on where to get support for the product - always a nice touch. Also placed here are the 24 Bit 96 kHz Mid/Side recordings, which were captured at varying times of day with multiple weather conditions, offering a sense of ambience in the side channel, and a more direct sound in the mid. All sounds are also extensively metadata tagged. The files vary in length from around 1 minute to 4 minutes, enough to cover most scenes with interesting crow calls and weather effects.
One thing that drew us to Urban Crows was it's gritty and natural, homemade sound. When placing one of the files in a scene, you'll instantly notice it adds character, with the surrounding ambience captured in the M/S recordings combined with a plethora of unique and downright weird crow calls.
This unpolished sound lends itself well to placement in urban environments or bleak futuristic wastelands. We have used this library in so many projects that it has become our go to for adding dimension and fullness to otherwise plain and neutral shots, or scenes with a sinister and near future vibe. We assumed that Detunized were UK based as the sounds here felt very British in tone and colour - that is a good thing though as it means they are interchangeable and you can't pinpoint the source!
The ambience captured brings some natural noise floor to your backgrounds track, but when mixed at a reasonable level and brought in line with an M/S plugin, you have a lot of control over the focus of the effects. Everything from cleaner center crows, to rumbling, dirty residential hums in the sides.
Overall, the sound feels well captured, more so in the performances of the crows than the overall tonal and technical aspects. In many of the files, the crows are huge groups unlike we've ever heard before, replying to each other in a distressing almost zombie-like fashion. Detunized have spent the time to record snapshots of a mysterious and iconic common bird, making uncommon vocalisations.
It is hard to fault a library that finds itself landing in so many of our projects. One thing that is a clear word of caution is the higher noise floor (ambient noise) that these files have compared to more clean ambience libraries. This can be toned down to an extent, but then you lose the stereo field. A quick high pass filter cleans up much of the rumble (we like the dirt though, so choose to let it sit in the mix for EXT scenes).
The price is rather nice, considering Urban Crows used quality equipment, provides unprocessed recordings and has sounds that are difficult to find anywhere else, useful in lots of projects. It also runs at 1 hr 30 minutes in total. If you are on the fence, a lower priced mini version ($22) is available with less files and a 48 kHz sample rate. There is also a huge sale for Detunized libraries at the moment (linked below). We cannot put a price on a library that adds extra sonic spice to otherwise dull surroundings though - and neither should you!
Caws aplenty, files lengthy, bit rate twenty............four. Go buy it!
Glitchedtones are known for their ability to spark creativity with their cinematic and experimental Sound Libraries. Abstract Sound Design serves as a starting point for those initial idea phases.
November 23, 2021
Company: Glitchedtones
Product: Abstract Sound Design
Price: $12
Our Rating: 4.3/5
Glitchedtones have organised their samples into two folders, one for Atmospheres and one for FX. Everything here is neat and tidy, and the files have varying lengths provided in 24Bit 48kHz WAV with metadata - a total of 60 sounds. Even though the artwork does look self made, I think it serves the product well and matches the theme nicely, kudos.
The value in this library is great in terms of quantity. The sounds weigh it at just $1 per 5 effects ($1 per 10 effects if you count the 50% discount currently running).
These sounds are very fitting to the kind of glitchyness and weirdness found in Psychological Thrillers, Sci-Fi, Trailers and even Modern Cinematic Hybrid Music. They could be a good counterpoint to visually distorted footage too. One reference point to the style of these would be Neill Blomkamp films where there is an element of future lo-fi and grit, tasty stuff.
How do they sound? Abstract. You wont find much here in terms of building blocks, but more the results of a loopy feedback Sound Design session from Glitchedtones. Perhaps something that may set your project apart for the price of $12. Especially if its an experimental 3D animation project with visual movement. Or a high end Sci-Fi that needs some extra 'edge'. The sounds are quite heavily processed too - more so towards the side of dynamics processing. The frequency content feels raw and dirty, but is without any quality issues.
The price here is great, but a couple of small niggles make this library less competitive than it could be. Considering the theme, you would think that providing the sounds in 96kHz would be a no brainer. Anything ambient/atmospheric in a Sound Library really should be at least 30-60 seconds long, and the shorter sounds leave users feeling like the focus was on quantity over length.
Bare in mind that this doesn't take away from the fresh content that this product delivers. We'll be using it for Psychological Thriller/Sci-Fi projects that come in, or when we want a layer to a transforming cyber duck with a plasma fuelled jetpack!
Great price, lots of bang for buck ($6 with the discount!) for brave souls that like to venture into the weird and wonderful projects often assigned to Sound Designers and Composers. Get 50% off Abstract Sound Design now while the offer is still available!
Principle Sound Design's Sci-Fi Weapons fuses Hollywood style elements with hard hitting Russian engineering.
November 23, 2021
Company: Principle Sound Design
Product: Sci-Fi Weapons
Price: $42
Our Rating: 4.7/5
After opening the review copy sent to us by Principle Sound Design, we were excited to take a look at what is on offer here. The first impressions were great, as over 1000 weapon sounds are included (that should be enough to fill out your star-ship armoury).
There are also categories which are cleverly separated into weapon names; DP-116-STEELFINGER and UR-1804 CRUSHER being personal favourites. A clever touch that gives the impression that real care and attention went into building each weapon with unique character, something often missing in Sci-Fi libraries at this price point.
The cover art, layout and file naming of the library is very consistent and feels professional. The 1000+ sounds are provided in 24Bit 96kHz so that you can stretch 'till your hearts content (or until you get artefacts).
An unfortunate thing here is the lack of metadata tagging! A small price to play for the quality vs. price ratio though.
This library is modular, offering customers free updates which we think is very generous considering how much content is included already - we were told by Principle Sound Design that at least 7 new guns and about 50 sounds of reloading will be added as a free update very soon, and that metadata may also be on the cards.
You also get performances / repeated shots built into many of the sounds which is useful for huge battles and off screen elements, saving you lots of time when spotting those behemoth sized planetary invasions.
Some of the weapons are clearly inspired by your favourite Sci-Fi heroes (see SW-77-REBEL) where others offer something completely new and exciting (see FN-001-WHIP).
So how do they sound? Hollywood, huge, heavy and high calibre. They have a fat, processed and clean sound that feels mixed to the point where you can drop them straight into a scene with some reverb and distance perception. Reloads and ricochets also make an appearance, and are definitely a nice addition.
Enough stereotypical Sci-Fi elements have been used to build this library, but some new ones have been sprinkled in to give it some fresh flavour. This will blend with other vendors libraries well, but will also stand on it's own with formidable glory. A combination of Foley and Synthesis were blended to create the content, which has resulted in a well rounded aesthetic.
One minor problem that I feel was overlooked by Principle Sound Design here was the naming of the library. It is very similar to libraries from SoundMorph which raises some questions, but also makes it very confusing to find in search engines.
In terms of what's offered, the only negative is the lack of metadata - the sound, price, format and everything else help make this a really killer library!
If the lack of Metadata doesn't concern you, there are over 1000 reasons to purchase this library for the small price of $42 and not many reasons to say no; especially if you are working on a Sci-Fi project.
