museum sound design Asbjoern Andersen


This summer, I got the chance to visit the Moesgaard Museum (MOMU) in Aarhus, Denmark – a recently-rebuilt, state-of-the-art, and highly-praised museum dedicated to archaeology and ethnography.

One of the things that really impressed me was the sound – it was incredibly effective at setting the scene, telling stories and bringing everything to life.

And thankfully, I can now share the story behind those sounds, in this special feature on museum sound, written by MOMU composer and sound designer Soren Bendixen. Here, he shares how museum sound is created today, and gives you some real-world examples of how he’s using sound to bring history (and in some cases, the dead!) back to life:


Written by Soren Bendixen, photos by Foto/ Medie Afdelingen, Moesgaard Museum, Jacob Gonge Due



For the past 6 years I have mainly worked as a composer and sound designer for cultural heritage museums in Denmark. I have a background as a musician, composer, producer, venue manager, music consultant, music teacher – in short, a life in music.

In 2008 I released “Debut”, a digital Ep with my own music, and it caught the attention of exhibition architect Ole Birch Nielsen. He hired me to create the music for the exhibition “City Pulse” at Museum Jutland, and the exhibition turned out to be a great success. Subsequently I was affiliated for two years with the museum as resident composer, then moved on Gl. Estrup Agriculture Museum and created a sound design for an exhibition about the war in 1864 (the one we lost ..!). Since 2014 I have been involved with projects at Moesgaard Museum, near Aarhus. In 2014, Moesgaard opened a new exhibition building, which in a short time, has become a genuine attraction.

To date, I´ve created 3 major sound designs, respectively; “Lives of the Dead”, which is part of the permanent exhibition section, as well as special exhibitions, “The First Emperor – China’s Terracotta Army” and “Gladiator – The Heroes of Colosseum”.
 

The sonic element

As a composer, I have always been fascinated by the sonic element. So it was no problem to include sound design in my work and today it’s a mix of everything.

A major reason for the Cultural History Museum’s becoming a very exciting workplace for composers and sound designers, is a paradigm shift in the way they make exhibitions. It is a change that is becoming more widespread and forms the basis for a far more experience-based form of communication that embraces all generations.

In short, museums have gone from the “naked” showcasing of an infinite number of objects, to designed stagings- often with a strong, dramatic grasp. The exhibitions have become tales about man. The museums have humanized our common cultural history, and it provides a sense of belonging and recognition.

Museums have gone from the “naked” showcasing of an infinite number of objects, to designed stagings – often with a strong, dramatic grasp

The audience has embraced this to such an extent that the number of visitors to Cultural History Museums in Denmark in recent years has increased by over 50%.

There is a tremendous strength in that one can see and almost touch the authentic objects. While the audience, through the staging, dramatization and interaction itself becomes part of the story.

New museums are being built, which are spectacular buildings themselves. Dusty exhibition spaces in existing museums are redesigned as high-tech multimedia spaces that take shape and color for current content. An important element is that the experience spreads out in the space itself, often consecutive spaces with an overall design that is extremely exhibition-specific.

The individual elements are not necessarily revolutionary, but the challenging mix of techniques and expressions of architecture, film, theater and the arts, along with the latest technological possibilities. This combined with the Museums’ skills and conscious choice of objects can make a visit to a cultural history museum an unique experience. Interestingly, this makes the remaining, carefully selected objects “shine” more than before.
 

The sound of the modern museum

A modern museum, like Moesgaard, strikes a balance between providing entertainment and finding equilibrium, between racket and contemplation.

This also applies to the sound design one can experience. If I would point to trends I would be pointing in virtually all directions. There are all kinds of sound design; Regular Sound Design, Music, Soundtracks, Sound Installations, Foley Sound, Speak, Interactive Audio, Adaptive Sound, Space-creating Sound. Often there is a mixture of everything, from the very specific to the very abstract; from small projects – a screen showing a documentary with speak, seasoned with a little music, to large, complex setups that recreate historical battles – or a day in the Colosseum!

Often there is a mixture of everything, from the very specific to the very abstract

The main trend is that there is a lot of sound, and probably more sound than awareness of sound. But it is still in its infancy and there is a great potential in meeting the challenges specific exhibition design offers.

The question is of course, whether the museums are going to cut corners in an attempt to maintain success, and with this focus come to place sound design, and especially music, in the role of icing on the cake. Or will breathing space be made for one to develop new and original music and sound design, that is not only technologically exciting, but also artistically challenging.

While the answer is blowing in the wind, I try, through my work, to make sound and music available to the general expression. For me it’s about interaction and integration, to get my sound design to blend in seamlessly with the exhibition. A bit glibly, it can be said that good sound design should not create experience, but empathy.

About Moesgaard Museum

Sound at the Moesgaard MuseumMoesgaard Museum is a Danish regional museum dedicated to archaeology and ethnography.

The museum’s exhibitions presents several unrivalled archaeological findings from Denmark’s ancient past, amongst others the Grauballe Man, the world’s best preserved bog body and the large ritual weapon caches from Illerup Ådal, testifying the power struggles and warfare of the Iron Age.

It has also housed special exhibitions like “Gladiator – The Heroes of Colosseum” and “The First Emperor – China’s Terracotta Army”. Source: Wikipedia

 

My Workflow

I try, as early as possible, to get into the process of the development of the exhibition. I always try to get the role of senior sound designer in order to control all audible sound.

In advance, I thoroughly research the exhibition’s content and design, studies of the historical period, society, nature, culture, daily life, respectively. I am very focused on the role of music; politically, religiously, socially. I study styles, instruments and all sorts of other sound emitting sources, related to the period.

Based on my research, I make a presentation to the museum which, as detailed as possible, describes what I will do and how it should be included in the exhibition, function, and vision-wise, including technical proposals. This presentation concludes with a plan attached to my contract and serves as common reference. Adjustments can happen along the way, but I usually follow the plan fairly closely.

In this phase I work a bit like a music archaeologist and am often in close contact with specialists in the field

Both the music and sound design are strongly rooted in the authentic. I collect authentic sources or information concerning the same. I often work with historical periods where there is no original material to listen to. In this phase I work a bit like a music archaeologist and am often in close contact with specialists in the field. Authenticity is tricky business, and it can easily end up in academic discussions or detached ideas. You were not there, right? It will always be an interpretation.

I sample any sound emitting objects in the exhibition. If it is not possible, I find replicas of instruments and objects or use sample-based virtual instruments. I use a lot of sound libraries and am a regular customer at A Sound Effect! But even with this huge supply on hand, I have repeatedly fallen short. For example, in a recent exhibition I needed an audience of varying size and sex shouting in Latin! – Argh! … But I was saved by Roberto from Sound Of Italy, who made a collection of sounds for me. Gratias ago Roberto!

The production phase is divided into milestones, so there is continuous approval of that which is produced. Early in the production phase I test my sketches in the exhibition space and in the final phase I mix all music and sound in the exhibition space.

 

Finding the structure

I always compose with an overall structure in mind and quite literally compose all audio into one big composition. It helps to create a space that supports and brings together the exhibition and avoids a collision of sound. Quite literally, it enables the audience to wander around in the sound space, as you wander around in the exhibition space.

I compose everything in the same tempo and time signature. Everything runs in sync, in loops of the same length. I work from the same key, sometimes I work with the same key sequence. There is often a lot of sound and music, but it’s discreet and supportive. It is rare that the audience only observes my work, often they don’t really notice it at all.

I compose myself out of the problem which already plagues the museum world – clashes of sound

It is an important point for me that, by using this method, I compose myself out of the problem which already plagues the museum world – clashes of sound. Clashes are unsightly for the experience, drain our energy and are not conducive to the overall experience. And attempts to use isolation rarely fall lucky, neither from a practical nor artistic view.

A sound designer has a great responsibility because you work closely to both the general idea and the smallest detail. One must at the same time completely drop the idea of being an artist in his own right, while maintaining a highly professional integrity and the courage to stand by working with a subject that operates on both emotional, mental and spiritual levels.
 


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I have my own high end production studio and take care of all phases of production, from recording, programming and playing, to mixing and finished production. I have a full surround set up but rarely make traditional surround. The specific space is usually not configured for ensuring a traditional, optimal sound reproduction. On the contrary, exhibition space encourages unorthodox setups. Therefore, I am in constant dialogue with the rest of the production team, experimenting with setups and formats and adjustments – sometimes after the opening of the exhibition! Often it ends up with a mixture of a number of formats, often unorthodox use of standard configurations. Recently, I have worked a bit with ambisonic – a great format!

Despite the authentic starting point, the end result is not in the traditional “ascetic” sense authentic. It is an attempt to create new music – and sound design from a decoding of a periodic sound universe. Whether it creates a special, original sound design must be another commentary. My goal is not to make it innovative or spectacular – just natural. And you have to remember that the best sound is sometimes the sound of … silence.
 
 

Examples of my work:
“Lives of the Dead” – Permanent exhibition, Moesgaard Museum, opened in 2014:

The exhibition shows how the dead live on in different cultures, and how the relationship between the living and the dead is seen and experienced. The exhibition consists of a series of contiguous spaces with their own themes. Individual rooms have their own sound design but all the sound design is composed to be experienced as one composition you wander around inside. All sounds are carefully matched so that they relate to a parent key, all running in sync in loops of 12 min. Here are some examples from the exhibition:

“Intro space”

The sound / music consists 99% of processed samples of three small Balinese bells present in the exhibition. The sound runs in 6.0 surround with speakers hanging “face down” from the ceiling in a 2 x triangle formation. In addition there is a screen that displays a movie. The sound design is composed for (and in sync with) the movie and for the room at the same time. The film’s narration is monitored at the screen. It creates a compliance between film and space.

“Spirits space”

A continuation of “Intro space”, consists of a 6.1 surround setup, that locally executes specific design that relates both concretely and abstractly to specific objects. In this part, I managed to sample and subsequently process a flute made out of a human bone, which delivers the most incredible drone sound. It pops off in several locations in the overall exhibition. The local sound design all blends together in the room itself and creates an overall sound design illuminating the spirit’s life.

“Passages”

A sort of meeting place for the exhibition. The exhibition is in two floors, the “passages” are stretching from floor to ceiling, marked by two very tall totem poles. You board the room below and the sound design “bubbles” like being underwater or in the surface. In this room will can hear or sense the overall the sound design.

“Mexico”

A movie 3 min. long is projected onto a table. The movie “sets the table”. Included are small film sequences where one sees and hears Mexican women prepare a feast for their dead. I asked for a movie looped 4 times so we ended up with a 12 minutes long movie. In addition, I created a 12 min long piece of music that evolved continuously over the repeated movie. it breaks down the 3 min time barrier and somehow you lose track of time, just like when you die.

 
 

“The First Emperor – China’s Terracotta Army” – Special exhibition, Moesgaard Museum 2015

Moesgaard Museum’s first exhibition in the new exhibition building, was about China’s first Emperor and his Terracotta Army – a crucial epoch in the history of China.

The sound design was primarily music with elements of sound design integrated. The music was composed in three layers, which played in 3 sections of the exhibition, settled in 2 X stereo + mono. (+ subs). Each layer was both an independent work and part of the total work. Each section had its own musical identity.
The transitions between individual sections were going smoothly and more or less consciously with the audience wandering around inside the composition.

Furthermore the museum technician Johan Ahrenfeldt and I were in collaboration with the world-renowned company TC Electronic, experimenting with adaptive sound in “The Palace”, so the audience got the experience of walking around inside a giant palace.

As an additional and very popular part of the exhibition CAVI – “Centre for Advanced Visualization and Interaction”, made an interactive installation where the audience could color a terracotta figure. In this context I developed, in collaboration with Peter Friis from CAVI, a sound design that was tonally balanced with the other sound design and thereby silently slipped into the overall sound.
Due to public demand I released a stereo version of the music and, quite unusual for sound design for an exhibition, it was a minor sales success (and you can still buy it).

 
 

gladiator exhibition sound

“Gladiator – The Heroes of Colosseum” Special Exhibition, Moesgaard Museum 2016:

The exhibition is a journey into the gladiators’ life and into the Colosseum and Pompeii Arena.
All music and sound design runs in sync, in loops of 20 min. at the same rate and are tonally matched.
The exhibition consists of four main areas

Entrance

This works like a trip into the arena, where animals were kept before ingenious constructions lifted them up in the arena.

“Entrance” Sound design
Adaptive sound that captures the audience’s movements and speech, is reproduced in the room with the sound effect of a cellar built primarily of stone, again a collaboration with TC Electronic. Room Tone sound design supporting the adaptive sound A sound design built into the wall provides sounds of many of the animals used in the Arena. Boom Library helped me out here. Thanks!

Arena:

Moesgaard designed the room so the audience stands in the center of the arena. A movie is projected on a wall, size 26m x 7m.The movie follows a day in the colosseum, with processions, games, and a victory ceremony. The movie is a kind of tableau of a cross section of the arena and the space itself is the rest of the arena.

“Arena” Sound design
Foley sound for the film; fighting, shouts, steps, speak, fanfares, combined with the sound of a lion lying in a cage under the stage. Cage hoisted above the lower edge of the film, the lion jumps into the movie! The audience for the film is laid out in space in the rear (a kind of expanded 7.1) and the audience experiences both being a part of the film and being present all the way around the room.
The action part of the movie (ceremonies and battle scenes) runs in 10 min. and then turns to evening mode, then into night mode. Here there is minimal action in the film itself. Instead the exhibition space is filled with a mix of music and sound design. After 6 min the movie turns into morning and then shows a preliminary meeting between some of the key gladiators. This changes to music from environment sound to soundtrack. It maintains the feeling of being present in the movie itself and creates an interesting connection between something circular and somewhat more linear and binds space and film together.

“Museological” and “Architectural Space”

In “Museological” where most objects in the exhibition are exhibited, you focus on daily life and life behind the scenes. In the “Architectural Space” you focus on architecture, shown with models and digitizations. The two spaces shared the same sound design.

“Museological” and “Architectural Space” Sound design
While Arena is in evening, night and morning mode, a parallel layer of
music/sound design built from the Arena music/sound design is running. It binds the three spaces together but retains each compartment identity. When the fighting starts in the Arena the sound design in “Museological” / “Architecture space” changes into a sound design, now focusing on birds, nature sounds and sounds from everyday life. It helps to relieve the pressure from the sound of an audience of 50,000 people screaming and shouting, the sound of clashing swords and death rattle coming from “Arena”.

The biggest challenge was to create a credible experience of 50,000 audience members because the film was a tableau, and was not driven by dialogue clips, commentary, a Hans Zimmer soundtrack and the presence of Russell Crowe. So the sound of the audience played a huge role in that dynamic voltage-generating clue. It was incredibly challenging to avoid sound that was constant and massive.
The audience sound consisted of approximately 100 tracks of audiences of different sizes, different genders and there was a myriad of groups, from individual people to groups of 2 to 10 people located around the room / sound stage with multiple layers of the large audience. Under it all are 3 layers of ambience of audience. In all, it`s a mix of shouting, talk, clap, mumbling, snoring (!)

There are, of course, many folks out there who make sound design and go about it differently. One can usefully follow the organization MMEx. But otherwise visit the museums – Sound design must be experienced live.

A big thanks to Soren Bendixen for his insights on how museum sound is created!

 

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    From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!


    This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.

    Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)


    These were recorded either in urban settings, countryside, or complete wilderness.

    Included is a set of useful synthesized, tonal, and designed winds.

    The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.

    WHAT’S INSIDE:

    • 102 stereo files
    • Highly focused and meticulously edited sounds
    • Ready to use Loop
    • Urban area and Wild area
    • Useful Designed & Synthesized Wind Sounds
    • Recordings from the Boreal region (North) in Iceland & Canada
    • Recordings from the Austral region (South) in Argentina & Chile
    • Recordings from Islands in Greece & Canada
    • Recordings from the desert in Marocco
    • Abandonned houses and shelters
    • Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
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  • City Life Nature Ambients Bundle Play Track 263+ sounds included, 683 mins total $160 $80

    This bundle includes 4 different libraries.

    The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.

    The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.

    The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.

    Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.

    Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.

    You can see the metadata and sound list below.

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  • Cars Cars In Motion Play Track 561+ sounds included, 340 mins total $150 $75

    The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.

    From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.

    The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.

    Here are the cars included in this library:

    • Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
    • Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
    • BMW 114i E87 – 20 files – 10 minutes
    • BMW 530D E60 – 55 files – 21 minutes
    • BMW F12 640D Gran Coupe – 87 files – 49 minutes
    • Excavator MF 860 – 30 files – 20 minutes
    • Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
    • Renault Kangoo 1.6 16V – 71 files – 32 minutes
    • Renault Master II 2.8 dTi – 21 files – 13 minutes
    • Renault Master F3500 dCi135 – 30 files – 12 minutes
    • Tractor Case II CX90 – 15 files – 10 minutes
    • Volkswagen Golf II – 26 files – 13 minutes
    • Other Cars – 60 files – 23 minutes

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total $116.66 $99.17

    Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.

    Road bikes included:
    • Yamaha 450cc Thumper
    • Triumph 600cc Dual Fuel Injection
    • Aprillia RST 1000cc Futura
    • A selection of bonus pass-bys and externals from a range of high performance bikes

    Dirt & Asphalt Volume 2 is the second addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from two motocross events and two practise sessions, with additional bonus content provided as race atmospheres.

    Library highlights:

    AMCA Motocross Classes Included:
    MX1/MX2/Experts/Seniors Unlimited classes

    Engine Sizes Included:
    85cc/125cc/250cc/450cc engines

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  • User Interface (UI) Ui Two Play Track 377 sounds included $45 $30

    Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.

    Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.

    As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.

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  • Cars Hyundai Kona Electric Car Play Track 428 sounds included, 98 mins total $100

    An electric car sound library with a range of FX from the Hyundai SUV, Kona.

    The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.

    It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.

    Multiple FX on each track – recorded in Sydney, Australia

  • Cars Car Interiors Play Track 430 sounds included, 14 mins total $69 $55

    car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!

    Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:

    car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend

    and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
    160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!

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  • Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included From: $119 From: $95.20

    ENORMOUS SOUNDING PERCUSSIVE HITS

    CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.

    With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.

    CINEMATIC STRIKES – CONSTRUCTION KIT:

    FLEXIBLE SOUND DESIGN TOOLKIT

    The Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.

    PERSPECTIVE & RHYTHM

    Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.


    Files: 618 • Sounds: 3708 • Size: 13 GB


    CINEMATIC STRIKES – DESIGNED:

    MAXIMUM PUNCH – AND THEN SOME

    CINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.

    From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.

    This package is particularly useful for filmmakers and trailer sound designers.


    Files: 108 • Sounds: 432 • Size: 1.4 GB

    CINEMATIC STRIKES BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 726 • Sounds: 4140 • Size: 14.6 GB
    Included sounds – keywords:

    BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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