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Posted by on Feb 25, 2014 | 7 comments

Whoosh Review

GUI3D_02In the last year, we’ve all been happy to see the slow emergence of software tools designed explicitly for sound design. The fine folks over at Tonsturm are the latest to release one such tool under the moniker Melted Sounds. Whoosh is a Reaktor based plug-in for designing, as implied by its name, complex and varied motion elements and pass-bys. The basic idea behind the tool is similar to a post here on Designing Sound by Charles Deenen, which was later built into a Kyma patch by Jean-Edouard Miclot. Whoosh simplifies the process of setting up this kind of processing chain yourself. If you’ve got Reaktor, you simply load the ensemble. The source material included with tool comes from some of the best independent sound effects libraries out there. Seriously, the list is hard to ignore. Sounds have been licensed from: Chuck Russom, Colin Hart, Tim Prebble, Jean-Edouard Miclot, Michael Raphael, Mikkel Nielsen, and Frank Bry…not to mention sounds from Tonsturm itself. It’s safe to assume that it sounds good…even if I weren’t about to tell you exactly that. Ultimately, deciding if it is a worthy addition to your toolbox is something we each have to decide individually. There are a lot of tools out there, and we all have our priorities. So, a review should be about its potential impact on workflow. Does it allow you a depth of control similar to Charles’ process at a comparable (or improved) speed?

Let’s take a look at what Whoosh can do.

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Posted by on Dec 20, 2013 | 1 comment

Review: Twisted Tools METAMORPH

Metamorph Logo

METAMORPH is the latest sample library from Twisted Tools, makers of the designed sample libraries as well as some fun and unique Reaktor ensembles. With sounds designed by BJM Mario Bajardi and Komplex (Iter-Research), METAMORPH “takes heavily processed violins, pianos and acoustic instruments and morphs them into impacts, sci-fi atmospheres, user interface elements and beyond.”

METAMORPH comes as stereo 24-bit, 96kHz BWAV files with full SoundMiner metadata for easy searching. It includes sampler kits for Ableton Live 9′s Sampler and Simpler, Logic 9’s EXS24, and Native Instruments’ Kontakt, Battery, and Maschine; Also induced is the MP16d, Twisted Tools’ sample player. METAMORPH contains just over 2 GB of samples broken down into 10 categories: Drums, Imaging Elements, Micro, Noises, Pass By, Sci-Fi Atmos, SFX, Textures, Tonal, and Composite. The “Micro” category includes User Interface and “Microbot” elements. There’s a good selection of sounds to be had, and the added metadata makes finding things fairly easy.

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Posted by on Dec 5, 2013 | 3 comments

A Second Look at the Hybrid Library

Hybrid_and_Expansion_1Earlier this year, I reviewed the Hybrid Library from Pro Sound Effects. Overall, it was a fairly positive review. While I was impressed with the library, I also pointed out some of its rough edges. The primary focus of the review was on the library’s metadata and how it would affect work-flow. I won’t go into heavy detail on the process here, as you can simply lick on the link above if you haven’t already read the review. Pro Sound Effects took notice of the few complaints I had with the library, solicited feedback from existing owners, and has taken steps to address the library’s weaknesses. Now that the library is available again, it’s worth seeing if the improvements have made the library any more enticing.

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Posted by on Sep 17, 2013 | 1 comment

Review: Robobiotics

robobiotics

Although we are halfway into a new topic month here on Designing Sound; listening through Empty Sea’s new Robobiotics library makes me think about last month’s “Noise” topic. Of course not in any negative way mind you, but noise in the way Rob Bridgett described it as: “desirable noise”. If you think about it robot servo motor sounds/foley have become an integral part of media’s depiction of robotic and synthetic characters. An android or robot who didn’t have some sort of servo sounds going on would seem “off”. Some of the character of C-3PO or R2-D2 would be lost without the power window and antennae recordings that helped build up their servo sounds. Even the super-future robots of 2004’s I, Robot had shimmery electronic foley elements. The “desirable noise” of robot movements, however impractical they would be in real life are ubiquitous and certainly not going anywhere (especially not if giant robot moves keep happening!). And Empty Sea’s new offering in Robobiotics scratches the synthetic itch of robot foley we were all programmed to have.

From The Library by Empty Sea’s page for Robobiotics:

 “Robobiotics is an exciting new sound effects collection from The Library by Empty Sea. A big one at 4.5GB, this collection contains over 3600 sounds. We’re talking about almost 3 hours of material here! We spent over a year recording and designing Lasers, Robot Vox, Impacts, Servos, Ratcheting Metal, Ambiances, Transformations, Foley, Vehicle Bys and much much more!

This collection features all original material both designed and recorded, for robots and sci-fi. It even includes original sounds from the MPSE Golden Reel nominated web-series DR0NE for which Empty Sea provided post production sound services.  As always, we painstakingly edited, processed and mastered the sounds, while also embedding them with metadata. It is a must have for any project that relies on SciFi material! Don’t wait, grab your copy today!”

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