Asbjoern Andersen


Ori and The Blind Forest is an impressive new game developed by Moon Studios and published by Microsoft for the Xbox One and PC – and it sounds absolutely spectacular. The game has been four years in the making, and I got the chance to have a talk with Sound Designer Andrew Lackey, who’s Audio Director and Lead Sound Designer on the game.

Read on to hear the sound team’s creative vision for the game’s audio, how they tackled the massive mix, Andrew’s favorite sounds – and how they were made.

Check out the launch trailer for Ori And The Blind Forest below:

Video Thumbnail
Hi Andrew, congrats on a fantastic-sounding game! What’s been your role on the project, and who else is on the sound team?

Thank you! It’s been an incredibly gratifying project. I’ve been in love with it for a long time, and it’s amazing to see players enjoy it as mush as I do. I am the Audio Director and Lead Sound Designer. Gareth Coker is the composer. Beau Jimenez, Geoff Garnett and Kristi Knupp are the sound designer/implementors. Plus we had very strong support from the engineering team on the game. Gennadiy, Willem, Arie, David and Arthur all playing huge roles writing tools, systems and advanced implementation. Eric Braa and Aeralie Brighton were our super talented voice talent. Dan Smith and Boyd Post at Microsoft really helped us to elevate tech and schedule issues, and got behind our sonic approach.
 

The game has been in development for four years. What have been some of the major milestones, in terms of the game’s audio?

The game was more of a slow march to completion rather than milestone driven. The major wins along the way were proving our cinematic aesthetic and tech on the interactive cutscenes, getting Ori’s platforming sounds dialed in, designing Kuro, defining the voices of Spirit Tree, Sein and Gumo, filling out the game with deep depth of field ambiences, enemies, UI… and Mixing it… mixing it was huge.
 

What’s been your overall vision for Ori’s sound design? And if you were to sum up the sound of the Blind Forest, what are some of the key sonic components?

Ori is a mix and refinement of many genre’s both in film and gaming. It’s beautiful, poignant, and suspended in time as much as it is exhilarating, fun and challenging. To do all those things well I knew we needed to create an expansive sound in the aesthetics, mix and density. We needed to be nearly silent at times and we needed to rip peoples heads off with terror at times. We needed to be hyper-realistic/naturalistic and psychologically spooky.

We needed the kind of detail in foley that draws people in very close to subtle action to create empathy with characters, but we also needed to saturate people’s senses to drive them to escape.

 
We needed the kind of detail in foley that draws people in very close to subtle action to create empathy with characters, but we also needed to saturate people’s senses to drive them to escape. In short, my aim was to create a highly dynamic and fitting sonic world for Nibel and all of this environments, characters and events, but also stretch as far as we could the peaks and valleys of dynamics, detail, humor, spookiness, naturalism etc.
 

The game genre has been described as ‘Metroidvania‘ – is this mix of genres something that’s influenced how you’ve approached the sound too?

Probably the most important aspect of the game is getting the platforming to feel fun and responsive.

We went for a light and agile feel for Ori, but you’ll also notice it’s very tactile.

We went for a light and agile feel for Ori, but you’ll also notice it’s very tactile. Wood sounds like wood, rock sounds like rock when you latch on, slide down or climb up walls. The textures end up making more of the meat of the sounds, as opposed to the impact of a foot for instance. Ori is mass-less, but Ori’s energy is real. So we focused on how Ori’s energy would affect the elements.

Beyond that, adventuring is key as well so we really wanted the player to feel the shifts in ambiences, moods, levels of hostility, creepiness, as the player moves through the world.
 

How does the game’s soundscape evolve as the player progresses through the game?

I’m very proud of the mix for Ori. There is a significant amount of sound that changes with environments and sequences throughout the game. This goes back to my earlier comment about stretching the aesthetic, density and dynamic range. If the moment is chill, relaxed and peaceful. We took that about as far as we could with the mix and sound design.

When it was time to get big, we were able to ramp up to epic scale.
 

The game has a natural progression much like a film would have so there are major events that happen as part of a 3 act story with a climax and denouement at the end. When it was time to get big, we were able to ramp up to epic scale.
 

What are some of your favorite sounds in the game?

The game is full of meaningful sounds…I’ll give you two.

I really like the connection between Ori and the Spirit Tree, and one sound in particular felt really great in connecting them. In the Attack cutscene when the Ori’s are communing with the Spirit Tree (before Kuro attacks) there is an ahhh sound that could almost be mistaken for a music element. I wanted to do sort of an hom chant kind of spiritual harmony thing there. I took some recordings of myself and my daughters and used the Windows app Paul Stretch to create this effect. Then I did the same thing with Eric Braa’s voice for Spirit Tree on some breathing he did. Those sounds became the basis for a lot of other sounds in the game.

The other example was really serendipitous. We just happened to be working on the game’s opening scene Prologue with the Storm and the Ori leaf journey. I wasn’t in love with the lightning material I had in my library (it’s so overused), plus I was a little grumpy that the visuals kept changing. We also had significant technical challenges completing that scene because of frame rate issues. I was about at my wits end, and this gnarly lightning storm came through our area.
We always have our field recording rigs ready, and we grab them as soon as a storm comes. On that day, we recorded some of the best lightning I’ve ever heard recorded.

On that day, we recorded some of the best lightning I’ve ever heard recorded. It scared the bleep out of us, but the mics just soaked it all up.

It scared the bleep out of us, but the mics just soaked it all up. No rain, just raw enormous thunder. If you know me… I LOVE recording my own sounds.
Lightning is one of those sounds that is very distinctive from one strike to another. They worked perfectly, and they sound sooo fresh and unique for the game..because they are.

 

Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
  • Environments Sci-fi World Swarm Play Track 141 sounds included, 120 mins total $39 $34

    The latest installment in the Epic Stock Media Sci-fi World Sound Effects Series has landed on planet earth. Sci-fi World – Swarm presents a meticulously designed ambience loop library inspired by an insect-like alien race and their quest for dominance in the galaxy. Sci-fi World – Swarm is a collection of over 2 hours of interior and exterior sci-fi background loops.

    With a selection of 141 designed sci-fi loops, you’ll be able to create new worlds effortlessly. Dramatic room tones, custom sci-fi interior and exterior scenes, ambient sounds like; alien cave, energy lab, transport hangar, termite mounds, and Queen’s chambers are all ready to mix, match, stack and layer for the perfect vibe in your production.

    Loops are approximately one minute in length and the ambience loop files include one or two minimal or alt mix versions. Also, sounds are pre-mixed and mastered to high volume so you can mix your tracks for optimal immersion and sonic dynamics without losing fidelity.

    Product details:

    • Sci-fi Ambience Loop Library
    • Includes a variety of locations, tones, and ambiences
    • 24 ambiences loops like alien cave, energy lab, hangar, sub bay & more
    • 49 minimal versions or alt mixes of full loops
    • 68 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free SFX

    Of course, it’s ready to use in any multi-media production. All of the recordings are royalty-free and RTU-OTB. Need more ambience loops? Be sure to check out Swarm sister sound libraries – Sci-fi World Colony and Sci-fi World Guardians Ambience Loop Libraries.

    13 %
    OFF
    Ends 1580511599
    Add to cart
  • Environments Sci-fi World Guardians Play Track 141 sounds included, 120 mins total $39 $34

    Sci-fi World Guardian is a library geared towards multiplayer games, space, dystopias, utopias, fantasy, magical places, serene game moments, RPG, MMO, and sci-fi games all alike and showcases sounds like automated shipyard, electron flow, data mining, engines, mothership hums, conversions, moons of Venus, deserted area, bioengineering lab, desolate space, holy house, a variety of pulses, tech-based loops, winds, & more.

    Each loop is game ready, seamlessly loopable and around 1 minute in length. Each main ambience includes 1-2 alt mix versions + you get a variety of layers to accent your scene and games ambience. Having both full ambiences, alt mixes and layers allows you to truly orchestrate your game’s background sound how you want it. If the full loop has too much going on, then try using the minimal version without the sound you don’t like or by stacking a layer loop to boost the dynamic of the atmosphere.

    Product Details

    • Sci-fi Ambience Loop Library
    • Save time, energy and get quality game audio assets!
    • Includes a variety of locations, tones, and ambiences
    • 25 ambiences loops like an alien cave, energy lab, hangar, sub bay & more
    • 50 minimal versions or alt mixes of full loops
    • 66 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free
    • RTU-OTB (ready to use out of the box)

    13 %
    OFF
    Ends 1580511599
    Add to cart
  • AUDIO LAYERING WIZARD


    SoundWeaver helps you design new sounds from existing audio material in less time.

    CREATE MORESKIP THE BUSYWORK

    USE CASES

    • Produce more assets and increase productivity on tight schedules
    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

    20 %
    OFF
    Ends 1581116399
    Add to cart
  • City Life Buenos Aires Ambiences Play Track 71 sounds included, 200 mins total $39.99

    Buenos Aires Ambiences features 71 beautifully and professionally recorded ambient sounds of downtown Buenos Aires, Argentina, with their rich and unique Spanish dialect, a variety of perspectives, locations, and times of day, everything is categorized with metadata input via Basehead Ultra, and mastered in Protools HD.  We originally recorded over 80gb of data which translated to 42 hours and meticulously cut it down to 6.5gb/3 hours and 20 min of the best and most useful ambiences.

    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

    Add to cart
  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

    Add to cart


Need specific sound effects? Try a search below:
 
Want more stories like this? Follow A Sound Effect:
 
                              

The game also features an astonishing soundtrack – how did you strike a balance between the music and sound design? And what’s the interplay like between the two?

Gareth had a tremendous feel for the game that I sync’d with immediately. I’m not sure if he influenced me or I influenced him, but we just got each other without a whole lot of arm wrestling. We both work with a lot of restraint and a big picture mentality. We respect that players don’t need or want to be prodded along with unnecessarily busy sound. They enjoy depth, detail, lusciousness and subtlety just as much as huge climatic moments.

The sequence starting in Prologue when Ori is walking through brambles is a good example. We get very quiet there before the huge climax at the end of Prologue (the opening cinematic). Then Gareth’s music in Sunken Glades to start game play has a very ‘relax, chill out and enjoy the forest atmosphere’ vibe. That could have easily gone the way of adventure music to drive the player a bit.

That wouldn’t have been a bad choice necessarily, but had he started with higher energy adventure music there we wouldn’t have been able to establish the sound effects for the ambiences, Ori’s movements, the UI and other interactive sounds as clearly. For the player this is a little playground space of sorts. In a sense we suspended time here so the players could hang around a little and feel safe to play.

Video Thumbnail

A behind-the-scenes look at the making of the game’s soundtrack

 
We also threw suggestions at each other pretty regularly. And again, I got to mix this game, which really allow me to push fx, voice and music in and out of focus in ways that give the player a lot of different sonic feels.
 

From a technical standpoint, how did you go about implementing the sounds for the game?

Wabi Sabi Sound was fully integrated as the sound team. We co-owned implementation with the programmers but the division of labor evolved over time. All of the tuning and mixing was our domain.
 

What’s been the biggest challenge in getting the sound right for the game?

Because the game wasn’t scoped 4 years ago to be the long, open, complex game that it became, we were under scoped on tools pretty significantly. The game was done in Unity 4, but shipped using a branch of the Unity 5 beta engine. It was a fairly dicey ordeal, but we really needed some of the new tools. We did not use a 3rd party audio tool, which in retrospect would have been the right choice. We ended up writing a lot of tech to supplement what we had. The game being full 5.1 surround, tightly mixed, with DSP was a gnarly challenge that we pulled off with great thanks to Moon’s amazing tech team.
 

From the teasers I’ve seen for the game, it looks like you’re doing some voices too?

Yes…haha…I’ve done tons of creatures over the years, so Gumo (humorous Gollum-like character) was pretty fun. I’m also doing Ori and Naru. Naru was a bit of a stretch, but we ended up being very minimal with her. I love doing voices especially as part of my design.
 

Video Thumbnail

Andrew Lackey, beavering away on the sound for the Gollum-like Gumo character

 

Response to the game has been phenomenal across the board. Did you know you were onto something special with this one?

The team collaboration on Ori was incredible. I really can’t say enough about it. Everyone was deeply invested, everyone spoke up about things they liked or didn’t and everyone did their best to integrate the ‘team’ feedback.

The team collaboration on Ori was incredible. I really can’t say enough about it.

I’ve been involved with a lot of projects, and I’ve never seen a team interaction function so well. It wasn’t always perfect and there were plenty of fierce disagreements, but everyone kept the game success at the heart of everything.

A LOT of love and talent has gone into this game by a great many people. I could feel it was special from the very beginning. I didn’t know it would be a broad commercial success, but I knew the project was coming from a special place in the hearts of the team that started it.

 

Please share this:


 

A big thanks to Andrew Lackey for the story behind the sound for the game! Find out more about Ori and the Blind Forest here, and visit the Wabi Sabi Sound page here.
 


 
 
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:
 
 
  • British Stately Home is a collaboration between two award-winning sound designers, Stefan Henrix (Chernobyl, Batman Begins) and Steve Fanagan (Room, Frank). It is a collection of 256 files recorded at 24bit/96kHz, totalling 18.6GB. The recordings are a mixture of mono, stereo, LCR and 5.0 files. In some cases there are multiple perspectives on the same recording (close, mid and wide). There are also Impulse Responses from several of the building's more characterfully reverberant rooms, which have been recorded from different perspectives and edited for use with Altiverb.

    Sounds for this library were recorded over two days in a beautifully maintained rural British Stately Home; a late-18th-century neo-classical mansion. We set out to record any and all aspects of the building and its surroundings. The collection includes doors, windows, fireplaces, clocks, drips, keys and various unusual, period specific props we came across.

    The interior of the building was one of the quietest places either of us have ever recorded and the Roomtones we've captured here are some of the most still and neutral recordings we've both made.

    All of the sounds are authentic and the spaces we recorded in are reverberant, have their own ambience, and have coloured each of the recordings with the natural acoustic of this magnificent building.

    We often set-up with multiple mics to capture different perspectives of the same recordings and these will hopefully offer the user interesting options as they work with these sounds.

    At times we have left our own movements at the beginning and end of recordings, as they captured something of the building's unique acoustic and have proven useful to both of us in our own film work with this library. This is a diverse and versatile library and the recordings take well to pitch and time shifting, and to other plugin manipulation.

    Equipment Used: Sanken CMS-7S, DPA4060, Sennheiser MKH60, Rode NT4, Sound Devices 702T, Sound Devices USB Pre-2, Roland R26

    Add to cart
  • Ice Frozen Play Track 809 sounds included $45 $23

    Frozen is a collection of ice impacts, scrapes, debris, slides and more taken during a miserably cold winter in the arctic tundra of Massachusetts. These recordings were meticulously recorded, edited, named, renamed, edited again, re recorded, then re-renamed (you get the point) to give you the best quality ice library you can get.

    The library roughly is broken into two sections, raw and processed. Raw is designed for sound designers to go wild with: stretch, distort, compress, and more to your hearts content. The processed section is for designers and content creators on the go. If you’re on a tight deadline, pulling some sounds that are already going to get you close to where you need to be is imperative. These processed versions play very nicely even when not designing ice.

    49 %
    OFF
    Ends 1580511599
    Add to cart
  • Inspired by app market hits like Clash of Clans and Candy Crush, we present to you Mobile Game – a truly fun and genuinely gameplay inspired sound effects library. Filled with a thorough selection of popular game ready audio assets, Mobile Game gives you sounds that you can quickly implement inside any game to give it a familiar “hit app” game feel.

    • Includes 578 files
    • All files in .Wav 96k 24bit
    • Plus game ready mp3 files
    • Inspired by today’s best App Games
    • Includes Soundminer metadata
    • 891.9 MB of samples

    Mobile Game features sounds such as:

    Bubbles • Building • Coins • Crafting • Mechanisms and Contraptions • Musical Stabs • Objective Completes • Pick Ups • Potions • Tonal Designed Organic fx • UI/Menu • Upgrades

    10 %
    OFF
    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments Sci-fi World Swarm Play Track 141 sounds included, 120 mins total $39 $34

    The latest installment in the Epic Stock Media Sci-fi World Sound Effects Series has landed on planet earth. Sci-fi World – Swarm presents a meticulously designed ambience loop library inspired by an insect-like alien race and their quest for dominance in the galaxy. Sci-fi World – Swarm is a collection of over 2 hours of interior and exterior sci-fi background loops.

    With a selection of 141 designed sci-fi loops, you’ll be able to create new worlds effortlessly. Dramatic room tones, custom sci-fi interior and exterior scenes, ambient sounds like; alien cave, energy lab, transport hangar, termite mounds, and Queen’s chambers are all ready to mix, match, stack and layer for the perfect vibe in your production.

    Loops are approximately one minute in length and the ambience loop files include one or two minimal or alt mix versions. Also, sounds are pre-mixed and mastered to high volume so you can mix your tracks for optimal immersion and sonic dynamics without losing fidelity.

    Product details:

    • Sci-fi Ambience Loop Library
    • Includes a variety of locations, tones, and ambiences
    • 24 ambiences loops like alien cave, energy lab, hangar, sub bay & more
    • 49 minimal versions or alt mixes of full loops
    • 68 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free SFX

    Of course, it’s ready to use in any multi-media production. All of the recordings are royalty-free and RTU-OTB. Need more ambience loops? Be sure to check out Swarm sister sound libraries – Sci-fi World Colony and Sci-fi World Guardians Ambience Loop Libraries.

    13 %
    OFF
    Ends 1580511599
  • Environments Sci-fi World Guardians Play Track 141 sounds included, 120 mins total $39 $34

    Sci-fi World Guardian is a library geared towards multiplayer games, space, dystopias, utopias, fantasy, magical places, serene game moments, RPG, MMO, and sci-fi games all alike and showcases sounds like automated shipyard, electron flow, data mining, engines, mothership hums, conversions, moons of Venus, deserted area, bioengineering lab, desolate space, holy house, a variety of pulses, tech-based loops, winds, & more.

    Each loop is game ready, seamlessly loopable and around 1 minute in length. Each main ambience includes 1-2 alt mix versions + you get a variety of layers to accent your scene and games ambience. Having both full ambiences, alt mixes and layers allows you to truly orchestrate your game’s background sound how you want it. If the full loop has too much going on, then try using the minimal version without the sound you don’t like or by stacking a layer loop to boost the dynamic of the atmosphere.

    Product Details

    • Sci-fi Ambience Loop Library
    • Save time, energy and get quality game audio assets!
    • Includes a variety of locations, tones, and ambiences
    • 25 ambiences loops like an alien cave, energy lab, hangar, sub bay & more
    • 50 minimal versions or alt mixes of full loops
    • 66 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free
    • RTU-OTB (ready to use out of the box)

    13 %
    OFF
    Ends 1580511599
  • AUDIO LAYERING WIZARD


    SoundWeaver helps you design new sounds from existing audio material in less time.

    CREATE MORESKIP THE BUSYWORK

    USE CASES

    • Produce more assets and increase productivity on tight schedules
    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

    20 %
    OFF
    Ends 1581116399
  • City Life Buenos Aires Ambiences Play Track 71 sounds included, 200 mins total $39.99

    Buenos Aires Ambiences features 71 beautifully and professionally recorded ambient sounds of downtown Buenos Aires, Argentina, with their rich and unique Spanish dialect, a variety of perspectives, locations, and times of day, everything is categorized with metadata input via Basehead Ultra, and mastered in Protools HD.  We originally recorded over 80gb of data which translated to 42 hours and meticulously cut it down to 6.5gb/3 hours and 20 min of the best and most useful ambiences.

    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

 
FOLLOW OR SUBSCRIBE FOR THE LATEST IN FANTASTIC SOUND:
 
                              
 
GET THE MUCH-LOVED A SOUND EFFECT NEWSLETTER:
 
The A Sound Effect newsletter gets you a wealth of exclusive stories and insights
+ free sounds with every issue:
 
Subscribe here for free SFX with every issue

Leave a Reply

Your email address will not be published. Required fields are marked *