FANTASTiC May 29 2016 | 3.23 GB

For this release, we captured 152 unique foley and acoustic sound FX in different natural environments (adding up to over 16 minutes of audio), tube saturated them, re-pitched them on tape, and morphed them in the very cool Lexicon Vortex.

We recorded percussive and ambient sounds in various natural environments - nature, on the street, indoors, in a studio - and with different materials - wood, glass, plastic, our body, etc. We recorded vocals, rain hitting various objects, thunder, traffic, the ocean, vinyl, elevators, refrigerators, drill bursts, pepper grinder, toaster, metal pots, coins, plastic bins, metal gates, tree chops, twig snaps, water droplets, PVC pipes and more. Our field recording setup was a Sennheiser 416, Sound Devices 302, into a Zoom H6. Using the excellent limiter on the Sound Devices allowed us to catch more of the releases on many of the impacts.

[img]https://cdn.shopify.com/s/files/1/0662/5667/files/found-sounds-pic.jpg?17550433832136097928[/img]

To capture sounds in stereo, we used the -20dB backup record function on the Zoom and blended the two recordings to get the same result. In some cases, eg. the glass smashes, we even blended the Zoom mics with the 416 to catch the impact. We also used contact and condenser mics for some of the more eccentric sounds such as the electric signal noise.

The sounds then underwent processing, including layering of different sounds together, stretching, re-pitching, cropping, compression, EQ and in some cases additional reverb/ambience.

Once we got the sounds just right, we tube saturated the whole bunch with our Culture Vulture, opting for a low bias setting which allowed us to open up the release, achieving warmth and loudness. We then recorded all of the hits to tape at 15 ips, and played them back at 7.5 ips and 30 ips, giving us a whole batch of new samples at lower and higher octaves.

Finally, we reached for our secret weapon - the little known but very cool Lexicon Vortex - originally designed as a morphing effect for guitarists back in the day. This thing is super cool for weird, resonant modulations, dynamic delays and general wild stereo imaging. Plus Daft Punk toured with one in the 90s.

The end result is a custom collection of percussive and ambient foley, repurposed for modern music making, and especially cool for layering with more traditional drum samples.

What You Get:

650+ 24bit WAV Foley / Field Recording Samples

Adds up to Over 1 hour of Field Recordings

Clean, Tube Saturated, re-pitched Tape, and Vortex Samples

Ableton Live 9 Session containing 15 fully mapped drum racks

15 Kontakt and Logic Instruments

WAV Samples organized by folder

Requirements: Ableton Live 9.5 (Not Intro), Kontakt 4+ (Not Player), Logic 9+

WAV: 1.1 GB Unzipped

Ableton 9: 1.2 GB Unzipped

Kontakt: 1.2 GB Unzipped

Logic: 1.2 GB Unzipped

梦幻般 2016 年 5 月 29 日 |3.23 GB

对于此版本，我们捕获 152 独特 foley 和水声音效在不同的自然环境中 （加在一起超过 16 分钟的音频），管饱和他们重新定他们在磁带上，摇身一变，他们在非常酷的词汇旋涡。

我们在各种自然环境中-性质，在街上，在室内，在工作室-和不同材质-木材、 玻璃、 塑料、 我们身体等记录撞击式和环境的声音。我们录了，雨击打各种对象、 雷声、 交通、 海洋、 乙烯、 电梯、 电冰箱、 钻阵阵、 胡椒磨、 烤面包机、 金属罐、 硬币、 塑料垃圾桶、 铁闸、 树排骨、 树枝快照、 水滴、 PVC 管材以及更多。我们录制设置的字段是森海塞尔 416，声音设备 302，成放大的 H6。在声音设备上使用优秀的限幅器允许我们抓住更多的发行版上很多影响。

[img] https://cdn.shopify.com/s/files/1/0662/5667/files/found-sounds-pic.jpg?17550433832136097928 [有]

为了捕捉立体声的声音，我们使用-20dB 备份记录功能的变焦和混合两个录音来获得相同的结果。在某些情况下，如。玻璃扣杀，我们甚至混合变焦麦克风与 416 赶上的影响。我们还用于一些更古怪的声音，比如电动信号噪声接触和凝汽器的中等收入国家。

声音然后经历了加工、 一起包括分层不同的声音、 拉伸、 重新俯仰、 剪切、 压缩、 情商和在某些情况下附加的混响氛围。

一旦我们得到的声音恰到好处，我们管饱和整束与我们文化兀鹫，选择设置，允许我们开放释放，低偏压实现温暖和响度。所有到磁带在 15 ips，命中的记录，然后播放他们在 7.5 ips 和 30 ips，给我们的新样品整批在低和高八度。

最后，我们到达为我们的秘密武器-小却很酷的已知词汇旋涡-最初设计为变形影响的吉他手回在这一天。这件事很奇怪，共振调制、 动态延迟和一般野生的立体成像超级酷。再加上傻瓜庞克参观与一个在上世纪 90 年代。

最终的结果是自定义集合的冲击和环境福利，现代音乐制作，和特别是酷的分层与更传统的鼓样品改变用途。

你得到了什么 ︰

650 + 24 位 WAV Foley / 字段记录样品

加起来超过 1 小时的现场录音

干净，管饱和，重新定位磁带和涡样品

Ableton 实时 9 会话包含 15 完全映射的鼓架

15 开播和逻辑文书

按文件夹组织的 WAV 样本

要求 ︰ Ableton 活 9.5 （不介绍），开播 4 + （不是球员），逻辑 9 +

WAV: 1.1 GB 解压缩

Ableton 9: 1.2 GB 解压缩

开播 ︰ 1.2 GB 解压缩