57 Releases from KRock, AUDiOSTRiKE, MAGNETRiXX, FANTASTiC, DiSCOVER, SYNTHiC4TE, DYNAMiCS, P2P and more…
210MB of license samples on this ISO-9660 PC and Mac compatible CDROM for use in performances and compositions. WAV files are easily loaded into every software sampler and Audio / MIDI sequencing package on the Market today. Once you have them in your sampler – try various combinations of the sounds to build your own performance. Build a weird drum kit of Vocal Tidbits and Sound Effects. Get the neighborhood dogs barking by playing with the Synthesis Maps.
14 Releases from DISCOVER, P2P, AUDIOSTRiKE : 15 September 2015 …
Ob Emulationen rarer Vintage-Synthesizer, moderne Klangzauberer oder exotische Kreativkraftwerke: Das Angebot freier VST-/AU-Klangerzeuger für Windows und OS X wächst täglich. Doch wer hat schon die Zeit, diese alle zu installieren und auszuprobieren? In unserem großen Spezial stellen wir Ihnen die wahren Perlen unter den Freeware-Synthesizern vor und zeigen Ihnen, wie Sie diese gewinnbringend in Ihrer Musik einsetzen.
The Hammer-On technique is usually utilized to bridge notes together… or for killer solos. For this library it is the sole articulation used and played on a stratocaster which has been cleanly recorded and multisampled. There are no loops here (save for one temposynced patch), each patch contains multisamples. As this sort of play style is normally not showcased, this instrument has a very unique sound and timbre not found anywhere else. Consisting of 13 patches, Hammer-On can sound soft and sweet, creepy, or up tension in an action scene. If you play in the higher ranges it can even sound ethnic, similar to a dulcimer. The GUI (or “unearthed verbamp 80”) has controls for EQ (bass, mid, hi), reverb (a huge hall convolution reverb), and attack. The attack and EQ knobs can drastically alter the sound and vibe of each patch. Hammer-On is NOT your average guitar library. Yes, it does contain multisampled electric guitar patches, but it is aimed more squarely at cinematic and video game scores than producing authentic rock ballads. Soft, sweet, deadly… those are the words that come to mind here.
Recording with contact microphones is fascinating territory to explore due to the unpredictable results; it encourages experimentation! Inspired by the incredible work of Alan Splet and Anne Krober on Dune (as described in this article) I bought a custom built Trance Audio Inducer contact mic and preamp back in 2001, and have been experimenting with it ever since. A couple of years later I added a pair of Barcus Berry Planar Wave contact mics and while these mics featured in Tortured Piano this library is something else again: it is literally the result of hundreds of hours of experimenting… If you’re interested I have explained some of my experience in more detail in this article One aspect of contact mic recording that is fascinating for sound design is the lack of acoustic – there is no reverb due to the sounds being recording via direct vibration, not through the air. This feature alone makes for very malleable sounds, excellent as components and layers in complex, composite sounds or for when you need an abstract organic sound but where the actual source must remain concealed…
A simple guide using Virtual Guitar VSTs from Computer Music.
Featuring the very best of S.I industry standard sound FX collection. This set contains over one Gigabyte of sound effects. Nearly every Foley sound imaginable as well as a complete set of ambiences and Hollywood Series cartoon sounds. You also get city atmosphere, parks, construction, harbors, jungles, swamps, mountains, deserts, forests, country & residential, highways, airports, outdoor crowds, indoor crowds, restaurants, bars, offices, room tones and thousands more.
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