Written by Doug Siebum
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A complete collection of sonic exploration by Slava Pogorelsky.
Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
Here’s what to expect:
STEAMPUNK VINTAGE MACHINERY AND MECHANISMS introduces a fresh sound palette for steampunk soundscape of machinery and mechanisms that sound huge, gritty and full of character, totaling 1454 sound effects.
RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.
WHAT SOUND PROFESSIONALS SAY:
Philip Eriksson – Audio Director (It Takes Two, Battlefield V, Star Wars: Battlefront I & II)
“Slava has some pretty kick ass sound libraries!”Victor Mercader – AAA Sound Designer (Apex Legends)
“I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
“Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
“Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”Stefan Kovatchev – Audio Director (MultiVersus)
“Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”Shane Tetro – AAA Sound Designer (Remnant II)
“Slava’s libraries feature high-quality, adaptable recordings and designs. There is plenty to dig through in every pack, making each library extremely dynamic for various applications. Their exceptional textures have significantly enhanced my workflow; consider me a fan!”Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
“Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
Yarron Katz – AAA Composer and Sound Designer
“Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”26 %OFFEnds 1733525999
DS = Doug Siebum
EF = Erik Foreman
DS: Hi, and thank you for being here. Can you tell me a little about yourself and how you got started in sound?
EF: Sure! I grew up as an audiophile and played guitar as a kid. I went on to study film in college and worked at the University of Maryland college radio station. When I graduated, my first job was for a small video production company who needed a location sound guy. I worked in the DC metro area and on capitol hill doing all types of video shoots and before too long I expanded into audio post for the company. I started with Pro Tools 3 around 1994.
DS: Today I wanted to talk about immersive sound. Can you give me a general definition of immersive
sound?
Immersive, or spatial audio, goes beyond surround sound by adding a 3rd dimension to fully surround the listener in an audio experience.
EF: Immersive, or spatial audio, goes beyond surround sound by adding a 3rd dimension to fully surround the listener in an audio experience.
DS: Can you talk a little about the history of immersive sound? How did we get from mono to where we are today?
EF: I can speak specifically about Dolby’s evolution starting with stereo through Dolby Atmos. From stereo with Dolby SR noise reduction, we saw the development of left, center, right and surround
channel (LCRS), the beginning of surround sound, in the 1976 film, A Star is Born. This then expanded
to 5.1 with the release of Batman Returns in 1992. In 2010 Toy Story 3 was released in 7.1. Dolby
Atmos first premiered in the theaters with the release of Pixar’s Brave in 2012 so it has now been
around in theaters for over 10 years.
In the past 6 or 7 years Dolby Atmos has been expanding into the home and mobile markets at a fast
pace. With the advancement of chip technology, the ability to process more data has allowed the growth
of more advanced audio tech and better experiences across the board. So not only can we experience
immersive sound in a theater full of speakers but also on smaller devices like TV’s, soundbars, tablets,
phones and headphones.
DS: How did you get started in immersive sound?
EF: Dolby Atmos was still somewhat new when I was at Skywalker so working at Dolby was the beginning of professional immersive sound work for me. That said, I have a personal fascination with immersive audio experiences. I have been a long-time fan of what companies like Polk Audio were doing in the 80’s acoustically with their SDA line of speakers to create very wide sound stage experiences from
stereo sources. I’m totally inspired by those products and work daily to make fun and enjoyable mixes
using Dolby Atmos with the goal of bringing the same level of enjoyment to the listeners of my work.
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I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
- 8 Different Walking types
- More than 200 unique samples
- Recorded in real snow, in different depths
- Stereo 96Khz 24bit
- Kontakt & DSsampler
- Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.
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HIGHLIGHTS:
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Here is the complete ultimate Magic bundle!
In this bundle, you get both volumes of the acclaimed Magic Elements library:
Magic Element vol.1
+ Magic Elements vol.2.Tune Up your wizardry with top-notch sound from and for the next-gen sound designers!
DESIGNED: (1,098 sounds)
the bundle comprises a total of 11 designed elements:
Earth, Ice, Fire, Air, Black, Energy, Liquid, Foliage, White, Cartoon/Anime, and Generic SOURCE: (1,110 sounds)
The source folder is packed with useful sounds that cover a large spectrum; thoroughly edited and meta-tagged. They will support your creativity with materials such as choirs, dissonant metal, creatures, papers, debris, drones, cracks, textures, friction, LFE sub sweeteners,…
Choose how you want your sounds!
2 DOWNLOAD OPTIONS INCLUDED:• GLUED (Multiple variations of the same sound glued in one file)
• SEPARATED (Each variations of sound are separated in different files)
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DS: Did you make the move from Skywalker Sound to Dolby Laboratories so that you could work on
immersive sound?
EF: Yes, I made the move to Dolby to get directly involved with the cutting-edge audio products that are defining the immersive industry. I enjoy being part of the process, talking about it and teaching it to others.
DS: Can you tell talk about Dolby Atmos? Maybe explain it and talk about mixing in it.
EF: Dolby Atmos is a combination of a traditional channel-based system and a more advanced object one. It is an intelligent format that is always aware of its playback medium, be it headphones, a mobile
device, a soundbar or a huge theater. Dolby Atmos will render the mix appropriately providing the best
performance possible for each situation. I like to compare it to video resolution. The more speakers you
feed it to the better your audio resolution will be no matter the original mix room size. Dolby Atmos
sees every individual speaker attached to the playback system so, for example, in a movie theater with
10 speakers down the side wall, Dolby Atmos can address each individual speaker independently. With
that same example, in a 7.1 system the entire wall would act as one speaker.
The more speakers you feed it to the better your audio resolution will be no matter the original mix room size.
It is very powerful to address each speaker independently! The system also incorporates mix-down metadata. This allows me to prevue all of the mix down varieties while in the studio giving me complete confidence that my mix will be consistent in every scenario it plays be it 7.1, 5.1 or stereo.
Mixing in Dolby Atmos is an incredibly fun and rewarding experience for me. Having a 3 dimensional
sound field to work with is liberating and allows much more creativity and detail. I spend much less
time carving out individual sounds and more time deciding where to put them and actually adding
more.
DS: Are there other formats that you are mixing in?
EF: I use Ambisonics to record raw sounds but my main mix platform is Dolby Atmos.
DS: How much of your time do you spend working on linear vs non-linear media?
EF: Most of what I do is linear. I focus on Dolby marketing pieces and demos that are used by the company and many of our partners. I also create a lot of music mixes and compose music pieces. Finally, I work on training and teaching.
DS: Do you see any innovations in immersive sound that are coming to us soon?
EF: Yes, the power of intelligent object-based audio will transform our experiences in the home and in public spaces. I believe immersive sound is about to be re-defined and we are going to see some really fun and powerful uses of audio.
DS: Can you talk about recording for immersive sound?
EF: I think the important part to understand is that you do not need multichannel recordings to make multichannel output. It’s great to have an Ambeo mic or similar for some sounds that you may want to have a fully combined sound like backgrounds, however, the trick to making something fully
immersive is with quantity and variation by being creative with any kind of sound. I use sources of all
types to make immersive soundtracks and use all kinds of tools to add depth, variation and bring clarity
to a track.
DS: What equipment do you need to get started in immersive sound?
Dolby Atmos can be created with as little as a laptop and one of the currently supported DAWs that include Pro Tools, Nuendo, Cubase and Logic and pair of headphones!
EF: Dolby Atmos can be created with as little as a laptop and one of the currently supported DAWs that include Pro Tools, Nuendo, Cubase and Logic and pair of headphones!
DS: Do you have any advice for someone looking to get into immersive sound?
EF: Immersive audio is like a breath of fresh air, especially for the music and podcast industries. We don’t need to slam our carefully curated tracks through 2 speakers anymore. Formats like Dolby Atmos allow for a more comfortable, creative and spatial experience in pre-recorded media and live sound. I would advise anyone in audio to start to dig in because once you get it, you won’t go back. It will take your creativity and music ideas to a whole new level. Don’t think about mixing to speakers, but rather mixing to a 3 dimensional space.
DS: Any final thoughts?
EF: Thank you, Doug, for taking the time to interview me. It was a real pleasure! I’m always open to helping folks out that are working with the Dolby tools and format. Please feel free to reach me on Twitter if you have any questions or need advice with Dolby Atmos related things!
Please share this:
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I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
- 8 Different Walking types
- More than 200 unique samples
- Recorded in real snow, in different depths
- Stereo 96Khz 24bit
- Kontakt & DSsampler
- Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.
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