Asbjoern Andersen


The team at Boom Library, known for their excellent sound effects libraries, recently released two plugins: Turbine and Enforcer. Anne-Sophie Mongeau caught up with Boom's Axel Rohrbach for the full story on how they were created, why they're getting into creating plugins - and what makes the plugins so special:
Interview by Anne-Sophie Mongeau
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Hi! Thanks for doing this interview with us. First could you introduce Boom and your products?

We started Boom Library in 2010 mostly because we needed some more content for our own daily work. At that time we missed similar variations of the same, especially when working on games, but also to be more flexible for sound design in other media. We missed some raw recordings as well that are similar to things you would get from your own field recordings in order to be able to create unique sound effects. Most of the other vendors at that time applied more or less preprocessing that limits the usage possibility and the value over time. On the other hand we wanted to offer quite the opposite, basically the sounds we were thinking of when went out to record. That is where the whole “Construction Kit” vs. “Designed” collections come from.
 

Boom is known for high quality, versatile and original sound effects libraries. Where did the decision to develop plugins come from?

Plug-ins just give us the chance to widen the possibilities

I am very glad our work is being perceived like that. We are constantly trying to improve all disciplines all the time. Even though we love working with good recordings, there are some limitations with that. Plug-ins just give us the chance to widen the possibilities. There are only a few plug-in creators that really come from the sound effects / post pro business, most are music oriented. Even though these plug-ins are super helpful and a main part of sound designers tools, I feel we can fill a little gap here. Of course we would love to see our plug-ins being used by musicians as well – that also happens with our recorded sound effect libraries – however we always start a concept considering our own needs as sound designers.
 

You have now released 2 plugins, Turbine and Enforcer, can you summarise what both of them are about? What are their respective main uses as well as greatest strengths?

These two are in fact extremely different in all aspects. The Turbine simulates Turbofan and Turbojet engines plus some more but was never intended to be used for airplanes or devices using turbines only. We see it as a more flexible tool compared to the use of pre-recorded turbines with timing and movement backed into the recording. In our opinion it is a tool helpful for sci-fi engines and spaceships, robotic movements, servos of small and big machinery or even to create whooshes.

Enforcer is a timesaver and that frees up time to be more creative and productive

The Enforcer on the other hand is a tool that should help on a task many of us do manually a lot I guess: adding clean punch without messing up the frequencies, especially in the low end. Of course there are some other specials to it, but in general it is a timesaver and that frees up time to be more creative and productive.
 

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In Turbine, the presets are quite an important part of the design process, can you tell us more about how to navigate them and work with them?

The presets should be seen as a starting point. If it is about airplanes, you can pick a presets that either is exactly the plane you need or most similar. Or of course use a totally different plane if it matches the wanted emotions / intensity better. So lets say you have a A-10 Thunderbolt (aka Warthog) in your pictures, navigate to Military, Fighter and load the A-10 Thunderbolt II preset. In the presets menu you will always find a description on the lower right including basic information about the device like max speed and hints concerning the sonic character plus some tips and tricks about the usage.

There is more to the presets menu, but this would most likely be overkill for that interview. One thing however might be interesting: you can also only load the simulation parameters of a plane. That mostly includes the sonic behavior of a plane over distance, such as how tonal a fly by is. In reality that differs a lot, the A-10 Thunderbolt for example has a very distinctive howling sound when passing. You can apply that to other presets when loading the simulation only.

We created tutorials for all the different parts of the turbine. For the presets, check out this one:

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On a practical perspective, you can play with Turbine’s settings within your DAW with the help of automations as well as with your mouse wheel. Is it possible to map them to a midi controller for more flexibility?

We strongly recommend to use automation instead either the mouse or MIDI

We strongly recommend to use automation instead either the mouse or MIDI. Automation in current DAWs is 64-bit, the mouse resolution in DPI on the GUI is much lower, even worse with MIDI having only 127 steps. This lower resolution will result in tonal steps you can clearly hear. Under the hood for example the Thrust lever has 100.000 steps which you simply can not reproduce with the mouse or MIDI, but using automation you can. So even though it might be fun to use with MIDI, we do not offer direct MIDI integration by purpose. What however is possible with all DAWs I know is to map automation to MIDI controllers. You will still have these steps when using it, but after you record this data to automation and smooth out the 127 steps (ProTools for examples does that automatically) the sonic result during playback is once again step free.

Turbine and Enforcer + more popular releases from BOOM Library:

Learn more about the two new releases from BOOM – and explore their popular sound effects libraries too:

 
  • ENFORCER, a bass plug-in that adds irresistible punch, powerful body and a rigorous low-end bass impulse to your samples.
    You can heavily beef up sounds or add only a hint of weight. You can use it as a kick-drum synth, exchange kick drum tails and tune them easily using semitones or you can completely exchange given source sounds.
    ENFORCER – A scalpel for punch with unmatched precision.

    WHAT IS ENFORCER?
    Ever wasted your time adding sub sweeteners to every single shot of a fully automatic weapon? Ever got stuck layering a kick drum with controllable and tunable low-end or enhance live drums with well defined punch? Having a hard time adding steady weight to every single footstep? Look no further, Enforcer is the Swiss Army Knife for punch, low-end, sub power, kick… you name it.

    KEY FEATURES:

    • Add power and punch to your mix
    • Triggered by source audio material – no need to manually synch it to your tracks
    • Trigger can be adjusted with surgical precision – enforce exactly and only what you want
    • Tune kick drums and snares using semitones
    • Duck source frequencies for an absolutely clean & professional mix
    • Easy-to-use bass plug-in


    Updated to version 1.1, which features:

    • A highly requested Midi-mode
    • Phase invert
    • Link hi and lo pitch
    • 15 new presents

    Please note:

    • ENFORCER is a software plugin (VST, AU, AAX) for Windows & Mac. It requires an audio host software, and does not work as a standalone application.
    • ENFORCER works with the most common audio host software apps that support VST 2.4, AU or AAX plugins, such as Logic Pro, Pro Tools (11+), Cubase, Nuendo, Ableton Live, Reaper.
     
    iLok is an industry standard that we use to manage our BOOM Interactive software licenses (Please note: iLok is NOT required to work with our regular BOOM Library Sound FX packs). For ENFORCER, there are two different types of iLok protection available:

    MACHINE LICENSE: This activation option is FREE. You can deposit the software license on the computer where you’re running the software. You don’t need an additional iLok USB device. All you need is a valid account on www.ilok.com and the free iLok license manager software.

    USB-DONGLE: If you already own a 2nd generation or newer portable iLok USB device, you can deposit the license on the device instead of your computer. Please note that a lot of software plug in creators use the iLok system, so if you already own a 2nd generation (or newer) iLok USB device, you don’t need to purchase another one and if you purchase an iLok USB device now you can use it with software from other manufacturers (one iLok to rule them all).

    An iLok device can be purchased directly at ilok.com or – if you want to purchase from outside the USA – here. Additionally, you can get an iLok device from the most music or audio software retailers.

  • TURBINE is a revolutionary sound design plug-in that gives you access to a wide range of authentic virtual engines based on their real-world counterparts. Over the last 4 years of intense research and development we shaped this breakthrough software tool that revolutionizes the way we do sound design. TURBINE is here to blow your mind and to simplify your work in so many ways.

    You can change and automate all parameters in real-time, giving you full control over the final result.

    Key features:

    • Control Engines in Real-Time
    • Create realistic Flight Paths and Fly-bys in seconds
    • More than 50 versatile Presets
    Go Far Beyond Engine Sounds and Use Turbine for:

    Whooshes, pressure releases, robotics, sirens, musical fx, sci-fi elements, futuristic engines, home appliances, electric tools, flame bursts and more
    Please note:

    • TURBINE is a software plugin (VST, AU, AAX) for Windows & Mac. It requires an audio host software, and does not work as a standalone application.
    • TURBINE works with the most common audio host software apps that support VST 2.4, AU or AAX plugins, such as Logic Pro, Pro Tools (11+), Cubase, Nuendo, Ableton Live, Reaper.
     
    iLok is an industry standard that we use to manage our BOOM Interactive software licenses (Please note: iLok is NOT required to work with our regular BOOM Library Sound FX packs). For our clients, the iLok system consists of two components:

    1. A free license management software
    2. A portable USB device that must be purchased separately. Please note that a lot of software plug in creators use the iLok system, so if you already own a 2nd generation (or newer) iLok USB device, you don’t need to purchase another one and if you purchase an iLok USB device now you can use it with software from other manufacturers (one iLok to rule them all).

    An iLok device can be purchased directly at ilok.com or – if you want to purchase from outside the USA – here. Additionally, you can get an iLok device from the most music or audio software retailers.


    A 2nd generation (or newer) iLok USB device must be plugged into your workstation to run our TURBINE software. Without a 2nd generation (or newer) iLok device, the TURBINE software will not load. This applies to both editions, the free trial and the full version. When plugged into your workstation, our software will recognize your license and you can work with it.
 

More popular SFX libraries from BOOM:

  • Destruction & Impact CLOSE COMBAT Play Track 400-2400+ sounds included From: $119

    Our CLOSE COMBAT SFX library is definitely the place to go when you‘re in need of flying fists, roundhouse kicks and general hard-hitting combat action.
     
    CLOSE COMBAT Close comes in two variations:

    Designed, featuring 400+ SFX in 100+ 96kHz files. Delivers pre-designed, ready-to-use fight sounds

    Construction Kit with 2400+ SFX in 400+ 192kHz files. Gets you a huge arsenal of raw punches, kicks, clothes, whooshes, slaps, bone breaks and more to build from.

    You can also get them both together in the Close Combat Bundle – and save 20%!

  • Horror Cinematic Horror Play Track 500-1700+ sounds included From: $119

    This downright terrifying collection of horror sound effects – co-produced by Hollywood horror master Richard Adrian (The Hills Have Eyes, Gothika, Thir13en Ghosts, Ghost Ship, House Of Wax, Haunted Hill, Mirrors etc) – is available in three different versions:

    CINEMATIC HORROR – DESIGNED:

    cinematic horror sound effects - designedWant an easy, high-quality solution for horror sound effects? You have a tight schedule and need to meet a bloody deadline by tomorrow? That calls for our CINEMATIC HORROR – DESIGNED collection: a handy pack full of pre-designed, ready-to-use SFX that crawl and slither into your projects, ready to scare the audience with precision. There are booms, drones, hits, shockers, stingers, stutters, whooshes and further nightmares, including screams and screeches, distortion, whispers, echoes, metal squeaks and other haunting sounds. No need to fear short-term inquiries anymore – this library will fix your needs in an instant.

    The CINEMATIC HORROR DESIGNED offers you a great selection of more than 4 GB high quality SFX, brought to you in more than 100 single files. Each file contains 4 versions to ensure flexibility and alternation. All of it recorded and produced in 96 kHz and 24-bit by horror expert Richard Adrian and our devoted sound designers. The library also comes with key word search and well-grounded Soundminer metadata.


    Key features:
    • Library ships in 96kHz/24bit High Definition Audio
    • Extremes, hits, drones, shockers, stingers, stutters, whooshes & more
    • 500+ HD SFX in 100+ files
    • Effective workflow: well-grounded Soundminer Metadata


    CINEMATIC HORROR – CONSTRUCTION KIT:

    cinematic horror sound effects construction kitThis frightful collection not only creeps up your spine, but clasps your whole body. Symptoms such as cold skin, anxiety, dizziness, shivering, paleness and increased heart rate may occur, indicating the degree of sonic impact this library entails. The CINEMATIC HORROR CONSTRUCTION KIT is not for the sensitive nature, but for those who dare to play the complex facets of primeval fear. If you want to create something unique – the next terrifying attack, an evil twist, a horrifying moment of pure despair – this library should be your tool kit.

    A glance at the content list of the CINEMATIC HORROR CONSTRUCTION KIT suggests a dreadful future: ambients, drones (organic and synthetic), human sounds, impacts (e.g. guitar distortion, creepy clangs, smacks and thunks), metal impacts, metal squeaks and scrapes, rises, instruments (e.g. piano, violin, wine glass), metal scrapes, metal squeak, vocals and vocal choirs (breaths, laughs, exhales, screams (male and female), wood creaks, groans and more – all ready to follow your wicked phantasies and effects.

    These SFX come with more than 12 GB of high-quality source recordings delivered in 96 kHz, 24-bit, giving you only the best quality for heavy editing, pitching, and FX processing while keeping a top notch level of clarity and precision. To provide you with the fastest and easiest workflow possible, all files contain extensive metadata. Balance and mix the sounds just as you like and expand the range of panic, fright and terror.


    Key features:
    • Library ships in 96kHz/24bit High Definition Audio
    • Scrapes, squeaks, creaks & groans, vocals & drones and so much more!
    • 270+ files, 1.200+ HD sound effects
    • Effective workflow: well-grounded Soundminer Metadata


    CINEMATIC HORROR – BUNDLE:

    cinematic horror sound effectsGet BOTH versions above in one, sweet, terrifying bundle. It provides an unbeatable 12 GB arsenal of horror sounds that'll be a cornerstone for anything scary in your sound effects collection.

     
    Key features:
    • Gets you both Cinematic Horror – Designed and Construction Kit
    • 370+ files, 1.700+ sounds | 96kHz/24bit, WAV

  • Destruction & Impact Medieval Weapons Play Track 500-4500 sounds included From: $119

    Want the ultimate collection of medieval weapons?

    Here you go! Pick your version below:

    MEDIEVAL WEAPONS – DESIGNED:
    Get 400+ “ready to use” sound effects to unleash an epic medieval battle right out of the box. Pre-designed bone-crushing hammer impacts, deadly sword hits, wall-tearing catapult shots and much more will help you to build an incomparable medieval soundscape – Instantly. Impressive results in no time? The “designed“ collection is your best choice.

    This pack features 120+ files and 500+ sounds in 5 categories (full tracklist (PDF))

     

    MEDIEVAL WEAPONS – CONSTRUCTION KIT:
    Get ready for more than 4400 sound effects of Swords, Axes, Rapiers, Flails Sabres, Daggers, Arrows, Crossbows, Hammers, Catapults, Shields, Armor, Whooshes, Blood & Guts, delivered in top notch BOOM quality. Want to design some skull-breaking and orc-smashing epic battles? You need that one special heroic arrow shot? This collection is the right choice and provides the ultimate touch for your medieval scenario.
    This pack features 750+ files and 4.500+ sounds sounds in 6 categories (full tracklist (PDF))

     

    MEDIEVAL WEAPONS - BUNDLE:
    Medieval sound effectsWith this collection you won’t take no prisoners! Here you get BOTH the DESIGNED and CONSTRUCTION KIT versions above, for an armory filled with thousands of high quality source recordings to create any kind of medieval weapon sound.

    On top of that, you get the finest choice of deadly sound effects, pre-designed by our award-winning sound designers. And you save money. The bundle leaves nothing to be desired.

  • Electricity MAGIC Play Track 2.300+ sounds included From: $119

    Want the ultimate collection of Magic Sound Effects?

    Here you go! Pick your version below:

    MAGIC - DESIGNED:
    A powerful collection of ready-made, designed magic sounds, divded into categories like fire, ice, water, acid, electricity, healing and more. A total of 450 ready-to-use Magic sound effects are included!

    This pack features 130+ files and 450 magic sound effects (full tracklist (PDF))


     

    MAGIC - CONSTRUCTION KIT:
    Design your own magic sounds, from the more than 2300 sounds included in this bundle. It features a huge selection of sound elements like zzling, sparkling, explosions, fire whooshes, water splashes, ice crackles, bubbles, chimes, humming, wobbling, squeaks, choirs, drones and more to build from.

    This pack features 430+ files and 2300+ magic sound effects (full tracklist (PDF))


     

    MAGIC - BUNDLE:
    The ultimate collection of magic sounds, featuring BOTH the DESIGNED and CONSTRUCTION KIT versions. This gives you access to a fantastic selection of ready-made magic sounds + a wealth of sound components so you can design and sweeten your own magic sounds. Unleash some truly magical sound design with this strong bundle – and save money in the process.

    This pack features 570+ files and 2700+ magic sound effects!

 

What about the UI design and the choices of parameters – how did you come up with them and decided that those features would best support design?

There are some obvious choices we did, like Thrust in percent or Burn to get on load and off load or even afterburner when the turbofan engine has one. The others are parameters we think are useful for both, re-creating real airplanes or going into full creative sound design. The most underrated parameter for example might be the MAX RPM on the turbine stages N1, N2 and N3. Going to extremes here (especially low values) create really non-turbine-sounding audio that are quite fun to experiment with. In the engine tutorial starting at 5:02 minutes you can get a quick idea how drastically this alters the sound:

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Can you tell us about the sounds – where are they from and what lies behind the real time processing we hear when playing with the various parameters?

I love to get this question and luckily I hear that a lot with mostly surprised reaction when the answer follows. This actually is exactly what we aimed for. There are no recordings, the whole installer download including the manual and Mac and PC installer is only 145 MB – no space for any good audio in that. There is a lot going on under the hood, including several FFT filters, generators, several on the spot calculated impulse responses and even three Lorenz attractors for more modulation deriving from the Chaos Theory. The Turbine is rather CPU heavy because a ton of information is getting processed and calculated on a sample accurate basis in realtime, for example the speed and position of the turbine in the simulator and similar things. Even though it is in fact a calculated audio output, the basis of the sound are real values of the corresponding real life turbine, such as how many stages does the engine have, how many blades per fan / compressor / turbine and so forth.
 

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Could you give a few examples in which Enforcer is best put to use?

The most important thing to know is that it only works on percussive material. The Enforcer is no subharmonic generator and also no replacement for such. It can not be used on sustained sounds to create low frequencies over time. It can be used on things where you need extremely fast (sample accurate) and clean material to support it, either by adding transients or low frequencies. Some examples for sound design are steps, body-drops, rifles either single or in full auto, explosions, door slams, trailer hits, car crashes, punches and so forth. I even added some short low end to a tiger roar on each rattle of the roar. In music it is helpful on all sort of percussions, for example adding thumb or kick to a bass drum or even replacing the sustain and tune it but keep the original transient. It works on snares, even high hats, on modern percussion and drums in all styles and even orchestral things, depending how obvious you mix it in it can be a subtle low end to widen the overall perceived frequency response or go full throttle and replace original content.
 

Can you share more details on how Enforcer works – how is the sound generated/how does it manage transients vs tails?

The most basic explanation is this: Enforcer is a kick drum generator which is triggered by the amplitude of an input signal. Obviously that is not the whole story, but definitely the easiest way to understand it. There is a synth with different waveforms, which are very carefully programmed and top notch. Especially for low frequencies it is very important to not have any sort of artifacts but a rather extremely clean and thus controllable sound. You can choose the length, the pitch envelope and the amplitude envelope, so basically again what you would do with a kick drum generator. Adding overtones based on time is possible as well to have a harsher sound for the transients or to add harmonics the deeper the sound goes to make it better translatable to smaller speakers. So that is is the sound generator.

Enforcer offers two ways to help avoid creating rumbling or phase issues in the low frequencies

The detector is key to the whole thing. It has a high and a low threshold. Every time the input signal rises above the high threshold, Enforcers triggers, but it will only trigger a second time once the input signal goes below the lower threshold. There is also frequency dependent way to set the detector more freely and more precise (you can for example only trigger on a kick drum within a full drum kit loop using that).

One thing that happens very quickly when adding bass to content is that you mess up the low frequencies, creating rumbling or phase issues. Enforcer offers two ways to help avoid that. One is a ducking, dependent on the time envelope of the created signal. So you can for example leave the transients of the original input through but duck after that by the gain you choose. The other option is the possibility to remove exactly the frequencies Enforcer produces from your input signal. You can set the intensity of that as well. You can even use both in combination, which helps a lot to embed Enforcer into diverse input signals and to clean up for even more punch and control.

What motivated the choices behind the UI design?

Good question. First thing is that even though Enforcer is a totally different thing compared to the Turbine we wanted to stay in a certain style. I like orange, it is a warm and rich color, kind of aggressive but not really annoying, so that is the color. The most important part is the detector, without setting this right nothing at all comes out of Enforcer. So we needed this to be in the focus all the time. Then we tried to go from left and high to right and low in the workflow we think the sound should setup Enforcer. But of course that is no must, you can start wherever you want or even simply load a preset…

The Enforcer UI – GUI and visuals by Jannic Böhme, programmed by Jan Obergfell-Bourmer

 

Do you recommend Enforcer as more of a processing and mixing plugin, or a mastering plugin?

At first we intended it to be used on single tracks. However I tried it on busses or even the master as well with great success. I guess this mainly depends on the content and the goal. On the master or on busses it helps to remove some rumbling on a sum, however it might be harder to find the right trigger spots, especially in dense mixes. On single tracks you have more control, but the ducking and filter only affect the selected channel. But since you can use the side chain to trigger Enforcer, you can also put it on a bus or master and trigger it with a different track that probably contains all the major hits you need to support. So this is really up to the user.
 

Is there any way to feed your own oscillator into Enforcer in order to create completely custom sounds, with the help of the Enforcer interface and features?

Not right now. But lets say this is not off the table for future updates ;-)
 

In both Turbine and Enforcer, is it possible to save your own presets?

In Turbine it is not possible for several reasons. But all parameters get saved within the host session. You can import that track to another session or create a host dependent preset, something that all hosts I know can do.

In Enforcer this is possible. There is a context menu using right click on the presets dropdown menu. You can save a preset file on your computer and exchange with others who can load the file using the same context menu.
 

Do you have any pro tips, advice or interesting sound design practices you can recommend for both Turbine and Enforcer?

Two little hints for the Turbine: rising the “Thrust” too quickly will always sound like vacuum cleaners. Mass / size needs some time to get to speed, an average start-up of an airplane turbofan engine takes about 40 seconds to only 60% thrust. The second thing is about the “Simulation”. On the left you will find the speed you are currently moving at (“VEL”). You can do whatever you want, but only expect realistic outcomes at reasonable speeds. Other than that: there are tons of useful information in the descriptions within the presets tab.

Enforcer can be very aggressive or extremely subtle

Enforcer can be very aggressive or extremely subtle. On footsteps for example you can only add a little bit of weight, mixing it in by only 10% or even less. Using it via side chain on a bus give you the freedom to avoid the same processing of the original track on Enforcer (then of course use 100% Mix). Check the output to avoid clipping unless you really want it to clip. Also use the A/B comparison to quickly save the current settings and go on using the other slot from there, so basically use it as quick save instead for comparison only.

For both reading the manual will be very helpful including some usage tips plus we try to get interesting tutorials with more tips and tricks and use cases on our Youtube channel.

Learn more about Turbine and Enforcer:

Visit the Turbine and Enforcer Youtube channels to explore the tutorials.
 

Enforcer and Turbine could certainly prove to be a very useful tools in interactive medium such as games, processing sounds at run time, any chance we’ll see that happen?

We are diving into this, yes. But this will not be available very soon. Especially the Turbine is very CPU heavy, using it in runtime will necessarily mean that we have to lower the internal processing features quite a bit and we will need a lot of time to figure out how to do this without bad / not believable sounding results and if this is possible at all with reasonable results or if we can find workarounds by probably using pre-rendered (sampled) parts.
 

What is next? Are there any other products we should be looking out for from Boom in the near future?

Absolutely! We are currently working on another library for the “Noisy Places” series plus something that we already started last year with some epic fire and water stuff ;-) Follow our newsletter to get a small set of monthly free sound effects, our Facebook page or on Twitter to stay up to date.
 

A big thanks to Axel Rohrbach for this in-depth interview!


Get the full versions of Turbine and Enforcer here:

 

  • ENFORCER, a bass plug-in that adds irresistible punch, powerful body and a rigorous low-end bass impulse to your samples.
    You can heavily beef up sounds or add only a hint of weight. You can use it as a kick-drum synth, exchange kick drum tails and tune them easily using semitones or you can completely exchange given source sounds.
    ENFORCER – A scalpel for punch with unmatched precision.

    WHAT IS ENFORCER?
    Ever wasted your time adding sub sweeteners to every single shot of a fully automatic weapon? Ever got stuck layering a kick drum with controllable and tunable low-end or enhance live drums with well defined punch? Having a hard time adding steady weight to every single footstep? Look no further, Enforcer is the Swiss Army Knife for punch, low-end, sub power, kick… you name it.

    KEY FEATURES:

    • Add power and punch to your mix
    • Triggered by source audio material – no need to manually synch it to your tracks
    • Trigger can be adjusted with surgical precision – enforce exactly and only what you want
    • Tune kick drums and snares using semitones
    • Duck source frequencies for an absolutely clean & professional mix
    • Easy-to-use bass plug-in


    Updated to version 1.1, which features:

    • A highly requested Midi-mode
    • Phase invert
    • Link hi and lo pitch
    • 15 new presents

    Please note:

    • ENFORCER is a software plugin (VST, AU, AAX) for Windows & Mac. It requires an audio host software, and does not work as a standalone application.
    • ENFORCER works with the most common audio host software apps that support VST 2.4, AU or AAX plugins, such as Logic Pro, Pro Tools (11+), Cubase, Nuendo, Ableton Live, Reaper.
     
    iLok is an industry standard that we use to manage our BOOM Interactive software licenses (Please note: iLok is NOT required to work with our regular BOOM Library Sound FX packs). For ENFORCER, there are two different types of iLok protection available:

    MACHINE LICENSE: This activation option is FREE. You can deposit the software license on the computer where you’re running the software. You don’t need an additional iLok USB device. All you need is a valid account on www.ilok.com and the free iLok license manager software.

    USB-DONGLE: If you already own a 2nd generation or newer portable iLok USB device, you can deposit the license on the device instead of your computer. Please note that a lot of software plug in creators use the iLok system, so if you already own a 2nd generation (or newer) iLok USB device, you don’t need to purchase another one and if you purchase an iLok USB device now you can use it with software from other manufacturers (one iLok to rule them all).

    An iLok device can be purchased directly at ilok.com or – if you want to purchase from outside the USA – here. Additionally, you can get an iLok device from the most music or audio software retailers.

  • TURBINE is a revolutionary sound design plug-in that gives you access to a wide range of authentic virtual engines based on their real-world counterparts. Over the last 4 years of intense research and development we shaped this breakthrough software tool that revolutionizes the way we do sound design. TURBINE is here to blow your mind and to simplify your work in so many ways.

    You can change and automate all parameters in real-time, giving you full control over the final result.

    Key features:

    • Control Engines in Real-Time
    • Create realistic Flight Paths and Fly-bys in seconds
    • More than 50 versatile Presets
    Go Far Beyond Engine Sounds and Use Turbine for:

    Whooshes, pressure releases, robotics, sirens, musical fx, sci-fi elements, futuristic engines, home appliances, electric tools, flame bursts and more
    Please note:

    • TURBINE is a software plugin (VST, AU, AAX) for Windows & Mac. It requires an audio host software, and does not work as a standalone application.
    • TURBINE works with the most common audio host software apps that support VST 2.4, AU or AAX plugins, such as Logic Pro, Pro Tools (11+), Cubase, Nuendo, Ableton Live, Reaper.
     
    iLok is an industry standard that we use to manage our BOOM Interactive software licenses (Please note: iLok is NOT required to work with our regular BOOM Library Sound FX packs). For our clients, the iLok system consists of two components:

    1. A free license management software
    2. A portable USB device that must be purchased separately. Please note that a lot of software plug in creators use the iLok system, so if you already own a 2nd generation (or newer) iLok USB device, you don’t need to purchase another one and if you purchase an iLok USB device now you can use it with software from other manufacturers (one iLok to rule them all).

    An iLok device can be purchased directly at ilok.com or – if you want to purchase from outside the USA – here. Additionally, you can get an iLok device from the most music or audio software retailers.


    A 2nd generation (or newer) iLok USB device must be plugged into your workstation to run our TURBINE software. Without a 2nd generation (or newer) iLok device, the TURBINE software will not load. This applies to both editions, the free trial and the full version. When plugged into your workstation, our software will recognize your license and you can work with it.
 

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THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:
 
 
  • Get the drifting, breaking, screaming, skidding and acceleration sounds of a race car – from both interior and exterior perspectives.

    Features the roaring engines of a Nissan 240SFX s13 and the BMW E46 giving it everything they’ve got on a racetrack. Includes microphone positions such as cabin, body, exhaust and engine, and also includes selected ambiences from the race track, captured at a distance. Includes nearly 3.5 hours of recordings.

  • Cars Drifting vol.1: Car Action Play Track 109 sounds included, 47 mins total $20

    Get the sounds of crazy accelerations, drifting, wild breaking, screechy tires and more – captured from several different perspectives on a race track.

  • City Life Langa – Township Ambiences Play Track 25+ sounds included, 53 mins total $20 $15

    Langa – Township Ambiences is a collection of everyday sounds recorded within a vibrant township community in the heart of Cape Town. The townships are always a busy place with a lot of different soundscapes to offer – from the chaotic market street in the town centre to the quieter houses/shacks on the outskirts. This collection has both interior and exterior ambiences and wallas to set the scene for any project set in a lively city environment. This pack consists of 25 Ambiences.

    Photo Credits: Matthias v.d Neut

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Explore the full, unique collection here
 
Latest sound effects libraries:
 
  • Whooshes Tiny Transitions 2 Play Track 320-670 sounds included From: $29.20 From: $21.90

    “Tiny Transitions 2” is the successor to the very popular Tiny Transitions sound effects library.

    If you already knew the first library you know what to expect: even more, even better and more versatile to bring instant sonic support for all kinds of small animations, motion graphics, pass-bys, menues, projectiles and more.

    Re-load your ammo belt with not-so-intrusive production elements that come in very handy for any Sound Designer, All-In-One Film Editor or Web-, App- and Game-Developers.

    All the small motion elements that you need in your everyday work for games, apps, commercial, films or general motion designs.

    You get 350 ready to use designed sounds+ a composite selection of 320 cleaned and edited source soundsthat were used to design the Tiny Transitions. These sounds are mostly different props that are scraping or sliding on different surfaces and also some vocalized whoosh attempts.

    If you don't need the extra source sounds you can grab the “Designed Sounds only” pack.

    All source sounds were recorded with Sonosax SX-R4+ with a Sennheiser MKH8050+MKH30 M/S rig, a Sound Devices MixPre-6 with a MK8060+ATE208 M/S rig and a Sony PCM-D100. All sounds come with embedded Metadata.

    Metadata embedded by “The Audioville – India”

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  • Cars Subaru Crosstrek SUV Play Track 90+ sounds included, 35 mins total $99

    This sound effects library delivers the sounds of a 2017 Subaru Crosstrek SUV. Metadata is included, with over 35 minutes of recording time split into 90 ready to use wave files. There are onboard, external, and foley sounds, all in high quality 24 bit resolution, 96khz sample rate. This is the right library when you need stock sounds of a common Subaru vehicle.

    Onboard multi-track recordings are in 4 separate mono wave files. Drag & drop or import each of the files into your audio editing software, then align them for creative mixing. There are also stereo mix versions of the OnBoard recordings. The External recordings are in stereo wave files. The combined recorded driving time is more than 35 minutes long.

    Onboard Settings:
    Channel 1 = Engine, Channel 2 = Airintake, Channel 3 = Cab, Channel 4 = Exhaust

    External Settings:
    Stereo in Left and Right Channels

  • Foley Old Drawers Play Track 151 sounds included $14.99

    Old Drawers is a collection of 151 carefully recorded and mastered drawer sound effects.
    Opens, Closes, Slides, Rolls, Creaks, Wrestles and more!

    All audio files have been recorded at superb 192KHZ 24BIT. Multiple mic positions to capture all the little details such as rollers, creaky wood etc

    Comprehensive Soundminer's metadata. Over 20 different, old, traditional, wooden drawers.

    LOCATION: Spain, Costa Blanca. Traditional Spanish hacienda before renovation.
    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH 8060
    EDITED AND MASTERED WITH: Pro Tools, iZotope RX (mildly).

  • Water & Oceans Liquidation Play Track 180 sounds included $35 $29

    Liquidation is a liquid texture library covering everything from water to slime to fizzes and bubbles. Source material in this library includes wet slimy pasta, giant water balloons, large containers being submerged underwater, leather fizzing in a chemical bath, pool water splashes and more. Plus it was all recorded at 192kHz/24bit so you can really stretch and thrash these sounds – and the vast majority of the sound files are in stereo. Whether you're designing an underwater adventure or an alien autopsy, this library is full of complimentary textures to layer together.

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  • Motorcycles Piaggio Zip 49cc Play Track 146+ sounds included, 30x4 mins total $80 $60

    Get the sounds of an old Piaggio Zip 49cc, a 2 stroke scooter from 1999. Its peculiar sound makes it an inestimable tool for film and games, whether it is a karting game, a sandbox or a drama movie.

    The library contains 72 onboard, 36 external and 38 foley recordings. Onboard recordings consist of 3 channels (two exhaust and one engine). A mix of these 3 channels has been included. Each single channel is included as well, so it can be layered as you please and make a different mix of the onboard recordings. External files include a stereo setup and a following shotgun.

    The riding recordings, where many different actions are happening, contain descriptive markers to highlight interesting events in an otherwise featureless waveform. These markers can be read in programs such as Izotope RX, Reaper and Soundminer. The markers are also included as .txt files in a separate folder.

    All files come in 96 kHz/24 bit with embedded metadata.

    Gear used: Zoom F8, DPA 4066, Sanken Cos11, Sennheiser 416, Sony D100.

    Sounds included

    False starts, startups, shutdowns, idles, revving, accelerations, decelerations, constant RPM at different speeds, passbys at different speeds and distances, approaches, driving away, kick starts, kickstands, horn, switching on and of with and without keys, light switch, opening and closing storage compartment.

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