Composing for Theatre - The Composer Success Series Asbjoern Andersen

Want to succeed as a live theatre composer? In these two interviews, you'll hear what it takes to get started and succeed in composing for the live theatre industry, from 4x Tony-nominated composer Daniel Kluger known for his bluegrass arrangement of 'Oklahoma!' for its 2019 Broadway revival and for his score on the Broadway play 'The Sound Inside,'.

You'll also get insights from the Annie Award-nominated composing/songwriting team of Elyssa Samsel and Kate Anderson who wrote the songs for the musical adaptation of 'The Book Thief' that showed in March 2021 in the U.K. at the Octagon Theatre in Bolton and who composed for Off-Broadway musical 'Between the Lines':

By Jennifer Walden and Asbjoern Andersen, images courtesy of Daniel Kluger, Elyssa Samsel, and Kate Anderson
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The Composer Success Series – and what it’s all about:

The Composer Success Series is dedicated to helping you succeed as a composer – offering inspiration, advice on getting started and advancing your career, creative tips and tricks, helpful resources and lessons learned, from some of the industry’s most successful composers for film, games and beyond.

Quick navigation – click below to jump straight to your composer of choice:

• Elyssa Samsel and Kate Anderson – composers on “The Book Thief,” “Between the Lines,” & Disney Animation’s Olaf’s Frozen Adventure
• Daniel Kluger – composer on the play “The Sound Inside,” “Oaklahoma!” (2019), & “Judgement Day”

More interviews in the Composer Success Series:

Charlie Clouser • Sherri Chung • Cindy O’Connor • Inon Zur Pinar Toprak • Nainita DesaiJonathan SnipesGareth CokerRonit KirchmanZach RobinsonAlec Puro Jason Graves Peter McConnell Winifred Phillips Ronit KirchmanZach RobinsonAlec PuroAriel MarxMatthew EarlChristopher Thomas

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Elyssa Samsel and Kate Anderson:


Elyssa Samsel and Kate Anderson are the songwriting team behind Disney Animation’s “Olaf’s Frozen Adventure” (nominated for an Annie Award), The Apple + animated series “Central Park,” and the musicals “Between the Lines” and “The Book Thief.”

Learn more about Elyssa’s and Kate’s work at

• How did you get started as a composer? What was your very first theatrical score/composing gig, and what was that experience like for you?

We met in the BMI Lehman Engle Writer’s Workshop, where composers and lyricists are able to pair up and try out different collaborations under a strict curriculum that gets a little more DIY in the second and third years of the program.

It’s always good to remember that if the project you’re working on seems like it might be going nowhere, at the very least it is your best calling card!

It was a fabulous educational and networking opportunity for us. During our third year in the program, we were working on a subverted fairy-tale themed Musical Comedy, which we’d present to the Workshop for feedback and guidance while writing. Shortly afterward, we got our first big composing gig when we were recommended to author Jodi Picoult. She was looking for songwriters to adapt one of her books into a musical for the stage. When we read her novel, it felt very full circle because the book had a lot of fairytale elements, so the songs from the musical we had already been writing came in handy as examples of our writing style and tone. It’s always good to remember that if the project you’re working on seems like it might be going nowhere, at the very least it is your best calling card!

When we started working with Jodi, it was our first time showing work to producers, collaborating with a book writer, and putting our work up in industry readings. It was very exciting and very educational. Very promptly, we learned how important it is not to be too ‘precious’ about your work. Things get cut and changed all the time and you have to roll with the punches. It was extremely valuable to have that experience so early on.


• Any advice you’d share on how to land a job as a theatre composer/orchestrator?

We’ve always been advocates for making friends anywhere you go. This business feels enormous yet tiny at the same time. You never know “who knows who.” A lot of our best collaborations/opportunities have come out of making as many connections as possible, all the while being curious and — most importantly — kind to others.

We’ve always been advocates for making friends anywhere you go.

Another wonderful way of landing jobs is to find mentors; focus on people whom you admire and see if you can reach out to them to pick their brain. As long as you’re being respectful, we’ve found that most of the people we looked up to were eager to “pay it forward,” and help others navigate the tricky turns and potholes of the industry.

Investing a little bit of money into great sounding demos will take you far!

Additionally, having work ready to show is crucial. You never know when one of those mentors or connections will reach out with an opportunity, so have some great demos ready to go.

Show a range of your work, and make sure you show that you’ve put some professional love into your work. Investing a little bit of money into great-sounding demos will take you far!


• What were some essential lessons you’ve learned throughout your career?

We learned very early on that one secret to a meaningful, efficient collaboration is having a healthy dose of enthusiasm and optimism. These elements can make up for any number of shortcomings. Anytime we feel nervous, undeserving, or insecure while working on a project, getting feedback, or trying to land a gig, we try to keep our attitudes and our reactions optimistic.

…one secret to a meaningful, efficient collaboration is having a healthy dose of enthusiasm and optimism.

We’re lucky in that regard, that we have each other, because sometimes it takes two to keep enthusiasm afloat. Persistence is key, so even at your lowest lows, try to keep creating.

…even at your lowest lows, try to keep creating.

We were also told early on by a higher-up at Disney that “playing well in the sandbox” is vital. Projects take years and years, so nurturing relationships, finding the fun in collaborations, and making it known how much you value your collaborators is the secret sauce to sustainability when it comes to collaboration. It can be hard to put ego aside, but ultimately trusting your team is the only way to move forward. Believe that your collaborators are geniuses and it will take you far!


• Any favorite tricks and workflows tips that help when composing for theatre?

When composing for theatre, it’s important to go into it knowing that it’s a marathon, not a sprint. Be kind to yourself and know that it will take time. Unlike writing for TV/film where the deadlines and schedules are much more swift, your theatre show may take years to age and mature.

Unlike writing for TV/film where the deadlines and schedules are much more swift, your theatre show may take years to age and mature.

We love that aspect of it because the show can continue to evolve and grow as YOU grow, so when the show is finally “frozen” (meaning: no more changes can be made by the directors/writers) on opening night of its production, there’s a real possibility of it having layers upon layers of emotional depth from all the years you spent crafting it. It’s about the journey, not the destination in that sense! The journey will infuse the art.


• What are your favorite sites and resources for composers?

Maestra is a wonderful resource if you’re looking for female collaborators. They have a wonderful mission and we often recommend their website to people who are seeking fellow writers.

We also highly recommend joining the BMI Lehman Engel Musical Theatre Workshop if you’re interested in furthering your education in composing/writing for the theatre. They offer a librettist workshop too, if you’re also interested in book writing. We owe so much to the moderators of the workshop: Pat Cook, Rick Freyer, and David Spencer, who were monumental in guiding and inspiring us.


• What’s one special thing you did to become a successful composer?
We found each other. Having a collaborator who makes the work fun, and who makes you laugh is a blessing. We see our friendship as a main contributor to any success we may attain, since it is our friendship that fuels our ambition for the work.

Try to think of your creative journey as though it’s a fantastic, epic road-trip.

Seek out creative partnerships that make you want to go the long haul together. Try to think of your creative journey as though it’s a fantastic, epic road trip. We’re lucky because since we have each other in the same car, any “highs” along the way feel even more high, and any “lows” feel like they’re just another part of the mega-long drive that we’re still so happy to be on.

… set small, attainable goals every year and work to achieve them.

Additionally, set small, attainable goals every year and work to achieve them. Each goal will unlock a new level of goal that you can set for yourself next. It’s really about setting intentions because each step you take will then become intentional whether you realize it or not.

Look to others you admire and find out how they achieved their goals. If you can see it, you can be it. We believed that every step of the way, and continue to do so!


[tweet_box]What it takes to get started & succeed in composing for live theatre (Daniel Kluger, Elyssa Samsel, and Kate Anderson):[/tweet_box] ↑ Back to top

Daniel Kluger:


Composer/orchestrator/music producer/sound designer Daniel Kluger has earned four Tony nominations: two for Best Sound Design on both “The Sound Inside” and “Sea Wall/A Life,” one for Best Original Score on “The Sound Inside,” and another for Best Orchestrations on “Oklahoma!”

He produces original scores for innovative theatre directors like Daniel Fish, Anne Kauffman, Giovanna Sardelli, David Cromer, Arin Arbus, Kamilah Forbes, Tyne Rafaeli, Sam Gold, Trip Cullman, and more.

Find out more about Daniel’s work at

• How did you get started as a composer? What was your very first theatrical score/composing gig, and what was that experience like for you?

I’m originally a jazz pianist and improviser. After working as an accompanist, I became passionate about how musicians can support dramatic performances. The skills of accompanying led me to scoring and I think the fundamental sensitivity required is the same for both.


• Any advice you’d share on how to land a job as a theatre composer/orchestrator?

Seek out work and artists who inspire you, and reach out to those artists with your authentic interest. Be willing to join a team and be collaborative.


• What are some essential lessons you’ve learned throughout your career?

It’s important to plan, but plans often need to change. Be prepared, and be prepared to revise.


• Any favorite tricks and workflows tips that help when composing for theatre?

For me, it’s all about synergy between music and the visual language. With a film, you may have a picture or image to inspire you. In theatre, you sometimes don’t see the visual world realized until you’re in the theatre and the music needs to have been written already.

It’s important to develop relationships in the pre-production process with the director and scenic designer, to base the composition process in the visual investigation of the production. And then be ready to change it!


• What are your favorite sites and resources for composers?

Of course, Spitfire Audio has changed all of our lives, not just for their software but for the education materials and community discussion.

IMSLP is a fantastic resource for scores.

I’m also a big fan of the “phone a friend” method!


• What’s one special thing you did to become a successful composer?

I learned to take direction, to be willing to throw out my own work if it doesn’t fit the dramatic needs, and start again. Every revision or new approach takes you deeper into a relationship with the story and image.


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Highlights from A Sound Effect - article continues below:

  • Cinematic & Trailer Sound Effects Cinematic World Play Track 600+ sounds included $99
    Cinematic World┃SFX Library┃Trailer

    This cutting-edge library was created in collaboration with several award-winning sound designers, whose credits include Disney+, Diablo 3, The Outsider, Soul, Starcraft 2, Heroes of the Storm, Hearthstone, Assassin’s Creed Valhalla, Mortal Shell and many others.

    Cinematic World includes over 600 highly detailed designed, signature and source sound effects.

    All sound effects come in 24bit 96kHz, including detailed naming conventions and rigorous Soundminer-embedded metadata.

    All source sound effects were recorded with professional high-end equipment, including Sound Devices 788 with ORTF setup of Sennheiser MKH 8040’s and MKH 8050, as well as Rode NTG8, LOM Elektrosluch, DPA 4060 and Sony PCM D100.

    Library Review:

    RT Sonics’ libraries are awesome and irreplaceable – not only do they feature ready-to use-designed assets that stand out from the crowd, but also have immaculately recorded construction kits that I keep coming back to! You can tell that these libraries are created by sound designers, for sound designers.” –

    Alex Previty

    Sound Designer Audio Lead | Spider-Man (PS4), PlayStation

    Cinematic World features:

    Heavy Hits, Low Hits, Pulses, Clock Loops, Mech Suit Buildups and Weapons, Strings, Risers, Pings, Car Whooshes, Monster Roars, Bass Drops, Braams, Whooshes, Whoosh Hits and much more.

  • Dark ERA, ancient pagan music and the sound of the Vikings

    With Dark ERA, Eduardo Tarilonte – the master of mystical sounds – leads us back into the dark age where legends were born and where old northern gods still determined the fate of mankind. This library allows you to discover sounds to which the vikings and other already forgotten cultures and tribes were celebrating and singing their myths.

    The fascinating sound of Dark ERA ranges from the transcendental drones of the ancient stringed-harp Tagelharpa to the unmatched grace of the gut-stringed Lyre to the distinctive and characteristic sound of the Nordic bone flutes and the overtone flute Fujara. Goose bumps are guaranteed with the sound of war horns such as the wooden Lur, thunderous mighty percussion, a full ensemble of frame-drums as well as mystical throat chants.

    These instruments are complemented by an impressive collection of pulsating pads and atmospheric soundscapes which evolve over longer periods. These unique sounds ensure that Dark ERA can clearly be regarded as the next masterpiece created by Eduardo Tarilonte.

  • RAW CELLO FX features manipulated and mangled cello sound effects designed to provide the full character of the instrument and harmonic richness in order to create a completely unique set of organic samples between music and noise, intimate and vivid bold sounds expanding new possibilities out of this instrument.

    Different techniques and less-than-conventional microphone placement have been used to create gorgeous harmonics and a wide array of interesting sounds. We “played” with fingers and hands, different bows against the strings, objects and kitchen utensils, bowing, scraping or hitting single and multiple strings or parts of the wood body. 

    The collection features designed hits, bow, crescendo, screech, woosh, swell, bonus fx folder and is ready for trailer and soundtrack projects.



  • Realtime Pitchshifting PlugIn version 2!

    Elastique Pitch is the real time pitch shifting solution for RTAS, VST, AU and AAX. Powered by zplane’s élastiquePro pitch shifting engine which is used by millions of end users around the world, the plugin ensures the highest, program independent pitch shifting quality.

    Elastique Pitch focuses on the essential things: you won’t find any unnecessary or confusing controls or functionality. Instead, the plugin offers you quality, stability, and ease of use.

    In the second edition we´ve added a feedback delay and the infiniSTRETCH function of the new élastiquePro v3 engine. Both make it easy to use Elastique Pitch in a more creative way.

    The key features of Elastique Pitch V2 are:

    • multi channel: support for synchronous pitching of up to 8 audio channels
    • real time: no offline pre-analysis required
    • feedback with delay for more creative usage
    • Three different views
    • Program-independent high quality with the highly-acclaimed élastiquePro v3 engine (speech, single-voiced, classical/popular music, etc.)
    • phase coherence: absolute phase stability between all channels
    • MIDI input: for pitch control
    • formant shifting: shift formants independent from pitch
    • factory presets: for typical film pull-ups/pull-downs
    • AU, VST, AAX and RTAS support for Mac & PC

    technical specifications

    • audio format: 1-8 channels (I/O), 44.1-192kHz sample rate
    • plugin format: AAX, RTAS, AU, VST
    • pitch range: ± 12 semitones = 50-200%
    • timbre range: ± 12 semitones = 50-200%
    • plugin latency: 150ms @48kHz
    • min. system CPU: 2GHz
    • OS: MacOsX >10.6.8, Windows 2000/XP, Vista, Win7/8
    • Host: Pro Tools > V8

    WIN | MAC

  • An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.

    Mixing and mastering features
    Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

    Effortlessly sculpt your sound
    FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
    Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

    FabFilter goodies
    Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.

  • A crush on music

    Distortion and saturation play a very important role in music production. From subtle, clean and warm tube or tape saturation to the wildest multiband guitar amp effects: FabFilter Saturn 2 delivers.

    Saturn 2 introduces a host of new features such as a redesigned interface with modulation visualization, new subtle saturation and linear phase processing for mastering, many new distortion styles, and more.

    Warmth, harmonics, color and dynamics

    FabFilter Saturn 2 offers a range of different high quality distortion models, inspired by the vintage sound of tubes, tape, transformers and guitar amps. In addition, you get five creative FX distortion styles to mangle your sounds in weird and unexpected ways.

    With its multiband design and per-band feedback, dynamics, drive, tone and modulation options, Saturn 2 will bring a unique flavor to your music.

    Bring your sounds to life

    Add life and depth to your music using the extensive modulation section. By applying subtle modulation to crossover frequencies, dynamics, band levels or tone controls, great warmth and definition can be achieved.

    With all the XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources you will ever need, you get practically unlimited modulation possibilities. Creating new modulation connections could not be easier: just drag and drop. And Saturn 2 visualizes all modulation in real-time to show exactly what’s going on.

    FabFilter goodies

    Finally, FabFilter Saturn 2 contains all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, interface resizing and full screen mode, support for Avid control surfaces, GPU-powered graphics acceleration, extensive help with interactive help hints, SSE optimization, and much more.

  • Animal Sound Effects Collections Animal Hyperrealism Vol I Play Track 290+ sounds included $170

    Animal Hyperrealism Vol I is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: african lions, bengal tigers, horses, donkeys, cows, exotic birds, owls, bobcats, pumas, dromedaries, wolves, dogs, geese, lemurs, gibbons and many more.

    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these four mics, though in some instances an additional couple of CO100K was added to the sides.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Cold Weapon Sound Effects Swordfighter Play Track 479 sounds included $25

    Swordfighter is a robust package with sharp sounding swords, heaps of variations and all the extras you need to make a fight come alive. Build unique sword swings with various hits, swooshes, schings, different fighter vocals and impacts on various surfaces. All up there are 137 sword sounds, 93 surface impact sounds, 15 knife throwing sounds, 48 swooshes and 180 fighter vocals.

    This version includes two sub-folders: one optimised for a film & TV workflow and the other optimised for video games workflow. Plus a few bonus sounds of a charging army.

  • Genres Vintage Anime SFX Play Track 350+ sounds included $69

    The Vintage Anime Sound Effects Library brings all of the excitement of your favorite Japanese animated series to your fingertips. Inspired by classic cartoons from the 80’s and 90’s, these recognizable and versatile sounds will instantly enhance any FX collection. Vintage synths were used to create the auras, beams, mecha blasters, atmospheres, magic spells, guns, sonic blasts and explosives that makeup this pack of over 350+ custom 24bit/96khz .WAV files. Perfect for film, video games, podcasts and any project that could benefit from a power up!

    Both designed sounds and source recordings:
    • Classic anime sfx from the 80’s and 90’s

    • Auras, mecha, beams, blasters, spells, explosives and more! 350+ sounds!

    • Tons of source material for experimentation

    • Expert crafted metadata

    • Vintage Anime PDF

  • Creature Sound Effects WINGS Play Track 1444+ sounds included From: $99

    We are extremely proud to present our first library, WINGS – a one-of-a-kind sound library.

    From tiny insects to small birds, from fairies to dragons, WINGS offers a creative palette with a diverse range of sounds to choose from.

    With over 1400 files (more than 4 GB for the 192 kHz version ) we’re confident you will find the perfect sound.

    When purchasing WINGS you get 2 packs, our Design category that includes 180 files and the Source category that offers more than 1200 sounds. Featuring the very best of our foley sessions.

    All single flaps have been careful edited, allowing for unique speed or rate adjustments.

    Pick your preferred version at the introductory prices below:

Need specific sounds, instruments or plugins? Try a search below:


BONUS: Expand your skillset with the free Sound Success Guide:

Sound Success GuideWant to branch out beyond composing? Learning new sound skills can open up opportunities for additional revenue – and with the (entirely free) 60+ page Sound Success Guide, you get insights from 20 industry experts on how to get started and succeed in 18 different types of audio jobs:
Click to download (.zip)
Click to download(.PDF)

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A big thanks to Elyssa Samsel, Kate Anderson, and Daniel Kluger for sharing their valuable insights with us!

Want the free Composer Success Series e-book as soon as it’s released? Sign up to be the first to get it here

More interviews in the Composer Success Series:

Charlie Clouser – composer on the Saw franchise, Fox’s Wayward Pines, CBS’s Numb3rs, & NBC’s Las Vega
Sherri Chung – composer on The CW’s Batwoman and Riverdale, NBC’s Blindspot, and CBS’s The Red Line
Cindy O’Connor – composer on ABC’s Once Upon a Time
Inon Zur – composer on Fallout, Dragon Age, Prince Of Persia, Outriders, and The Elder Scrolls.
Pinar Toprak – composer on the Captain Marvel, The Wind Gods, and The Tides of Fate
Nainita Desai – composer on The Reason I Jump, American Murder, and For Sama
Jonathan Snipes – composer on A Glitch in the Matrix, The El Duce Tapes, and Murder Bury Win
Gareth Coker – composer on the Ori franchise, Studio Wildcard’s ARK: Survival Evolved, & the upcoming Halo Infinite.
Jason Graves – composer on Dead Space, Tomb Raider , Moss , and more.
Peter McConnell – composer on Hearthstone: The Boomsday Project, Broken Age Act 2 (2013), and Psychonauts 2.
Winifred Phillips – composer on Lineage, Assassin’s Creed, Total War, God of War, The Sims, and LittleBigPlanet.
Ronit Kirchman – composer on Evil Eye, Limetown, and The Sinner.
Zach Robinson – composer on the Impractical Jokers movie, the documentary series Artbound, Quibi’s Die Hart, Norwegian comedy The Oilfund, Josie and Jack, and the video game Cobra Kai: The Karate Kid Saga Continues.
Alec Puro – composer on Wicked Tuna, Black Summer, The Crew, Running Wild with Bear Grylls, and more.
Ariel Marx – composer on American Horror Stories on FX, Children of the Underground mini-series on FX, and the Roku Original docu-series What Happens in Hollywood.
Matthew Earl – composer on Virtual Reality games/experiences such as the Star Trek: Dark Remnant and Men in Black: Galactic Getaway VR simulation rides.
Zach Robinson – composer for the Evermore Adventure Park, Knott’s Berry Farm, Queen Mary Chill, Dreamland (UK), Los Angeles Haunted Hayride, Dent Schoolhouse, and The Void 4D virtual reality games.

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:

  • Dinosaurs Vol. 2 is the second edition of our popular Dinosaurs sound effects series.

    This library contains a wealth of pre-historic sound effects, covering a range of different dinosaur types. Inside we have carnivores, herbivores, scavengers, flyers and even baby dinosaurs, allowing you to craft your own custom Jurassic soundscape.

    To create this collection, our audio craftsmen unleashed their inner Dinosaur, recording a diverse array of sounds that includes roars, growls, sniffs, breathing, eating, and eggs hatching.

    This library is perfect for use in monster movie projects such as Godzilla, King Kong, Jurassic Park, and is also well suited to covering video game creatures and enemies.

    All files are supplied in 24Bit 96kHz allowing for further sonic manipulation and have been tagged with extensive UCS compliant metadata for ease of use.

    20 %
  • Creature Sound Effects Dinosaurs Play Track 32 sounds included $16.80

    Witness the terrible and wondrous sounds of the long gone rulers of Earth, with our new library, Dinosaurs, containing audio brought back from 65 million years in the past.

    Our Audio Craftsmen have captured the roars, rumbles and groans of a variety of Dinosaurs, from Triceratops to the King himself, T-Rex!

    All sounds were recorded in our acoustically treated Foley suite in 24Bit 96kHz allowing further sonic manipulation. We then meticulously edited and tagged the files with extensive UCS compliant metadata for ease of use.

    20 %
  • Vielklang Instant Harmony 2 is an instrument for easy generation of harmonies from an audio or MIDI melody. The utilization of voice leading and harmony progression models allows vielklang to create harmony parts in a more musical way than traditional harmony processors and makes it a versatile and creative tool for musicians, songwriters and producers.

    vielklang utilizes zplane´s widely-used élastique SOLOIST engine for high quality pitch shifting and time stretching.

    The new version introduces the following features:

    • advanced pitch editing with direct tool access
    • new sleek interface
    • vibrato and tremolo generator
    • hybrid view for score-like harmony visualization
    • MIDI harmonization
    • multiple file harmonization
    • Instant Harmony V2.0 & Advanced Pitch Editing
    • Harmonize your melody with one single click – loading a single-voiced audio file – and create natural-sounding background choirs and brass arrangements.

    vielklang Instant Harmony generates harmonies with 2-4 voices. It is packed with musical intelligence and music theory: it detects the best fitting harmonies for each individual input melody, and automatically synthesizes up to four voices with the voices not merely running in parallel but with their voicings selected to sound most natural (voice leading).

    The advanced pitch editing controls (full version only!) give you fast and easy access to pitch, timing, vibrato control, formant shift, and to many more editing options.

    WIN | MAC

Explore the full, unique collection here

Latest sound effects libraries:
  • Animal Sound Effects The Animal Symphony – Watusi Play Track 183 sounds included, 10 mins total $12

    The Animal Symphony will be a series of animal recording libraries, created to offer a wide variety of authentic animal sounds. Over the next few months, each installment in this series will capture the essence of different animal species.

    General description:
    The Animal Symphony – Watusi” features a total of 52 audios, with 183 individual sounds of Watusis mooing, all recorded in exceptional quality. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, we have managed to capture every detail and nuance of these natural sounds. Each recording was made at a 192 kHz, 24-bit, ensuring professional clarity and depth.

    Featured Features:
    – Variety of Watusi Sounds: Enjoy a wide range of Watusi sounds, from soft moos to powerful calls, perfect for adding realism and authenticity to your projects.
    – Diversity in Recordings: With multiple takes and variations, with long, short and group moos, so this library offers the necessary flexibility for any type of production that requires this type of animal.
    – Careful Editing: All recordings have been carefully edited to eliminate any external noise, such as birds, wind or people, ensuring pure, clean sounds.

    This collection is ideal for a variety of applications:
    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: African environment and scenes that require authenticity in fauna.
    – Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    – Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    – Total Audios: 52
    – Total Sounds: 183
    – Format: 192kHz/24bit
    – Equipment Used: Sennheiser MKH 8050 Microphone and EM258 Capsule Microphone

    The sounds from “The Animal Symphony – Watusi” are available under a royalty-free license, allowing their use in multiple projects without additional costs or royalties. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

    20 %
    Ends 1717711199
  • This library covers the sounds of the Trabant 601, equipped with a two-cylinder, two-stroke Otto-type engine from the late 1980s.

    The driving section contains 48 tracks with a total length of about 36 minutes. These tracks include engine ramps and driving sequences at various constant RPMs, suitable for game implementation. Additionally, there are takes featuring more common driving and pass-bys, which are better suited for linear media usage. Interior and exterior mixes are also included.

    The foley section comprises 23 tracks with a total length of 8 minutes. It covers all basic sounds, such as opening and closing doors, hood and trunk, gearstick shifts, handbrake usage, and horn sounds. These sounds were primarily captured from a close perspective using a shotgun microphone.

    Microphone setup:

    • Sennheiser MKH8040 (ORTF) – Cabin
    • Neumann KMR81i – Cabin / Foley
    • Neumann KM184 – Exhaust
    • Shure SM11 – Engine bay
    • Shure VP88 (M/S) – Exterior
    • Tascam DR40 (XY) – Exterior
  • Sports Sound Effects Pool Play Track 351 sounds included $5.99

    This is a sound library containing the sounds of cue sports games such as pool or snooker. Includes a range of sounds such as ball interactions, potting, breaking, and more, with sounds from both a standard set of 2″ pool balls and a smaller set too.



    • 350+ audio files in 24 bit 96kHz quality WAV format
    • “Multi” and “One Shot” files provided for most sounds
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
    • Available for commercial or personal use without attribution


    View a summary of included sounds here

    View a full list of included files here

    33 %
  • 30 Alicante sound effects recordings of urban street life from a southern Spanish city.

  • Soar across the skies with Boeing 737 jet airliner interior clips from idling, taxiing, flying, landing, and others.


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