Of course, this is a good time to upgrade or update any other Native Instruments product, too. For only $24,50, DJs can upgrade to the full version of Traktor Pro 3. All sound libraries and virtual instruments like NI Reaktor and NI Massive X are included in the sale, too.
The technicians at SoundIron have faithfully sampled every interesting sound they could get out of these instruments, with two stereo mic positions. Also included is a wide selection of custom FX presets and plenty of our signature sound designed ambient content, crafted from the raw acoustic source to give you complete creative freedom.
Often referred to as a tank, spring-reverberation devices typically incorporate several metal springs suspended in a metal case. The springs are excited using electromagnetic transducers. The principle is similar to a loudspeaker, except with a spring instead of the membrane. Sound waves travel across the spring to the opposite end, where another transducer converts the mechanical energy back into an electronic signal. A lot of the energy is reflected at both ends, but mechanical damping inherent in the system means that the the sound fades away naturally.
A transmission spring follows a principle physicists call the spring-mass system, and you might recall classroom experiments in which a weight was attached to a hanging spring, making it oscillate at a certain frequency. Apart from the external mass, the physical properties of the spring (material, length, wire gauge, number & diameter of coils) have a great effect on the vibration and transmission of sound. The longer the spring, the lower the frequency at which it oscillates. Longer springs also decay more slowly than short ones, as more windings result in more kinetic energy potentially stored.
Typically, reverb tanks with multiple springs are chosen for unequal delay times. Ratios based on prime numbers help in achieving dense reverb by strictly avoiding repetitive echo pattens. In a reverberation tank, the rigid suspension mounts at both ends act as a constant mass, thus damping the spring's energy. But upon vibration, some of the energy is transferred to the other parts. In a multiple-spring arrangement, all springs share a common mounting plate, so vibration becomes an interactive process. As a result, springs interchange their wave fronts and the sound becomes more washy with each reflection.
FATTY 311 honors the tonal legacy of the Conn Prelude 311 organ. Our lovely Prelude had a real spring reverb unit, two 44 key keyboards, a Min-O-Matic rhythm machine, and tons of emulated sounds of clarinet, trombone, violin, guitar tremolo, and more.
For over a decade, our mission has been to create an ever-growing selection of inspiring instruments, orchestral sections, drums, percussion ensembles, choirs, solo voices, folk and vintage instruments, experimental sonic contraptions, cinematic effects and sound-designed creations.
Over a large area of Australia, Aboriginal music has consisted (in many places still consists), a group singing accompanied by different kinds of idiophonic percussion. In north Queensland (area 'Y') accompaniments may consist of hand clapping only; for songs of intrusive types, such as 'island style' songs, a skin drum may be added. On Bathurst and Melville Islands, off the north-west coast of area 'N', songs types of different kinds are accompanied by hand clapping, buttocks-slapping, or by paired sticks. In a small area of Western Australia (north area 'W' and south of area 'K') one type of non-dance song (Djabi or Taabi) is accompanied by a scraped idiophone, or rasp. North of the Northern Territory, in area 'N', where is considerable diversity in song types and sound instruments, some songs are accompanied only by stick percussion (either paired hand sticks or paired boomerang clapsticks, depending on content and ceremonial association), others are performed by voice, sticks and didjeridu. According to information obtained from written sources and available audio-recordings, there are about thirty Australian sound instruments, or agents for producing different sounds. About 75 per cent of these occur above 20 latitude and above a line joining Broome, southwest of 'K', to Ingham, southeast of 'Y'. About 50 per cent occur below this line. No attempt has been made as yet to reconstruct a relative chronology for Australian Aboriginal sound instruments; nor for the song types with which particular instruments are formally integrated. Patterns of geographical distribution at least offer a starting point. Didjeridu-accompanied songs stand out clearly against a background of songs accompanied only by percussion; and the musical participation of a aerophone, within an ensemble where voice and percussion are paramount, would seem to be evidence enough for its 'superimposition', or intrusion into an older musical situation already widely established.
Contemporarily, though, you could achieve bizarre sounds by randomizing the synths on the market today. For example, Native Instruments Absynth 5 is a superb synth for effortlessly generating strange and eerie soundscapes. In the Free Downloads section, you can also find our atmospheric, dark, and deep sound presets for Absynth 5. Other possible digital instruments include modular synths, granular synths, and samplers to manipulate your recordings.
The sounds were derived from old toys, some over a hundred years old. So, all of the sounds come from springs, music boxes, and bells inside such toys. Such kinetic sounds set vintage toys apart from the modern ones with chips and speakers. Furthermore, the library features a peculiar user interface, emphasizing the nature of its instruments.
From soft soundscapes to rumblings and epic hits, Trailer Xpressions 3 does it all. It features 28 instruments and a rather minimalistic user interface. You could use the sounds for trailer music production, of course, or for scoring. Distorted percussions and drones are often staples of horror/thriller score production.
From resonant bowls and plates to metal springs and drums, Mystery Box 2 is an example of a successful experiment. While the instrument itself may not be the most flexible ever, it still provides an excellent collection of sounds for a remarkably fair price. I highly recommend it for adding eerie noises and jumpy screeches in a score.
If you are looking for a way to use percussions in your horror scores, Freaktion is a fantastic entry to it. It features over 130 audio recordings of unconventional sound sources and even custom-built stringed instruments. Most of the sounds are atonal. So, you can use them as building blocks for sound effects in the film too.
The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.
Plus, there are emulations of ultra-popular reverb hardware units, including spring reverbs, plate reverbs, and digital reverb rack units. Each emulation sounds absolutely pristine, perfect for those who want the most natural reverb sound possible.
While you can certainly use it on anything, I truly love how it sounds on acoustic instruments, such as drums and guitars. For example, there are a bunch of drum room presets that you can use to put multiple drum samples in a single space to make your drums sound more cohesive.
If you're planning on running several instruments into a single reverb to create a cohesive space, for example, FabFilter Pro-R is an excellent choice. It has a crystal-clear tone that keeps vocals and other instruments sounding natural and spacious.
No matter what kind of reverb you're looking for, you'll likely be able to find it in Liquidsonics Tai Chi. This Atmos-compatible reverb plugin delivers everything from cinematic ethereal spaces to tight rooms. The overall sound is very lush, great for melodic instruments like vocals, guitar, electric piano, and synth.
Fuse Audio Labs recently released a vintage-sounding spring reverb plugin based on the ultra-rare VREV-666 from the early 1960s. The original hardware unit was meant to deliver an unpredictable vibe, which is exactly what this unit does.
The VREV-666 isn't meant to sound ultra-realistic, and that is what makes it such a beautiful reverb. You can send a signal through the springs to get a sound that is charismatic and bright. Whether you need to add a gritty, springy room tone to your guitars or add some driven ambiance to your vocals, VREV-666 is an excellent reverb to get the job done. 2b1af7f3a8