echo | collective is the label under which the guys at Dallas Audio Post release sample libraries and Kontakt instruments for use in film, music and games.
Our need for unique and interesting sounds has us constantly updating our libraries and databases. We love making noises, bending sounds and recontextualizing things into shapes and forms they were never really meant to take.
Under echo | collective our custom sounds are available to the world at large. Feel free to take a look around, listen to the demos, watch the videos and then pick up some sounds. You can follow us on twitter @echocollective
A killer antique accordion full of paper crinkles, key clacks, sick sounding wheezes and old wood creaks. The antique accordion was rescued from a local antique shop. It has a hole in the bellows that creates a distinct wheezing sound, and it is loaded up with strange squeaks, pops and paper textures.
We rolled on this instrument for about an hour, and did everything from flicking the keys to dropping and pounding it. The accordion took some abuse, but in the end what it gave back was a wealth of old sounding textures you can’t fake.
This instrument was recorded at 24 bit 96k, in dual mono – with an AT4050 for a wide perspective and a Schoeps CMC6.MK4 for a close perspective. Comes with 57 .wav files and 19 Kontakt .nki files (the .nki files require the full retail version of NI Kontakt 4.2.3 or later)
The Burroughs Protectograph that we acquired was manufactured around the turn of the 20th century and had a single unique function – to stamp and emboss checks for banks. The Burroughs corporation has been around since 1886, and was an early force in the adding machine, check stamper and typewriter industries. This Protectograph version had an electric mechanism that would move large printheads down through a ribbon and would stamp a check hard and repeatedly for as long as the print key was held down. Our machine was acquired in perfect working condition.
Its keys have a short through but a satisfying clack, and the punch mechanism is a huge whir stamp sound than can cycle if the punch button is held down. We rolled with the case both on and off, which revealed very different sounds from the main electric mechanisms.
We ran the whole session with three perspectives miked up – front by the keys, in the back by the punch and a wide perspective perfect for bgfx placement. The front and back mics were Schoeps CMC6.MK4 and the wide mic was an AT 4050 in omni about 5 feet away. Listen to the straight examples give a clear accounting of the type of sounds we got from this machine, and the bent examples show what can really be done with those sounds and the Kontakt instrument.
800+ sounds from one of the most complex and varied sounding instruments that we’ve come across in our junk shop travels. Broken strings, creaky wood and a great resonant cavity gave us a massive collection of sounds ready to be bent and twisted.
This is a fretless German harp zither, which differs in quality significantly from concert zithers, which have several strings with fretted necks beneath them. This version was manufactured by Friederich Menzenhauer, the father of the zither in the US. Zithers of this kind are notoriously difficult to identify because they contain no distinguishing marks on the bodies themselves, and the only branding is on the paper label deteriorating inside the soundhole.
Our version had been worn beyond all repair through decades of age and neglect. Broken strings, creaky wood and a great resonant cavity gave us a massive collection of sounds ready to be bent and twisted.
We did much more than just throw a couple of mics up and pluck – this instrument was recorded with a stethoscope mic, a lav inside the cavity, overhead xy, room mics, and more. We banged, scraped, bowed, ebowed, and thumped every last noise out of this one in three separate sessions. The end result was a collection of about 5 Gb of edited stereo 24 bit 96k sound.
The Kontakt instruments are where the real magic happens with this instrument. There are presets for horror string hits, angelic and demonic pads, old creaks and more. The zither barely survived, but it gave us an array of sounds that are very different from what you’ll get from a properly tuned and maintained instrument. It is the uniqueness of the decay that gives our zither its character.
If you're after hospital sounds, here's a beautiful suite of surround sound hospital ambiences.
Access to hospitals can be tricky. Credentials are required, and different rules must be followed for every step one takes deeper into the building. It's not as simple as just grabbing a rig and walking in the front door.
Our hospital ambiences were recorded during one extensive day long shoot where we were granted access to one of the nation's top medical campuses. There are surprisingly few “hospital machines” making beeping noises at any given location within the building, which gives these sounds the flexibility to be used in any large institutional building.
Each location was recorded in dual MS and decoded using the excellent Schoeps double MS decoding tool.
The end result is an immersive set of recordings that show off the reality of what a hospital really does sound like. Pick up a copy and cover your hospital scenes the right way.
Two versions are available:
Little Boxes is a curated collection of four unique sound sets designed to compliment one another sonically and texturally. These textures move from acoustic to electroacoustic to analog synthesis – all programmed into beautiful Kontakt 4 instruments (full NI Kontakt
4.2.3 or later required).
A small device meant to be hung flat on the wall, the balls will swing and strike the strings if the ground begins to move.
This box was shaken, plucked, strummed, performed and ebowed to produce a beautiful palette of acoustic string textures.
In Kontakt those sounds evolved into a group of instruments that ran from folksy, zither like patches to lush, shimmering pads.
Get a huge variety of simple or complex lockdown mechanism sounds with a wide array of different latches and impacts with Lockdown, a performable Kontakt instrument and sound effects library.
We brought in dozens of props big and small to generate a massive array of source material recorded at 24 bit 192kHz. These included cameras, carabiners, wrenches, rack cases, knives, can openers, tongs, crimpers, solder suckers, file cabinet doors, vehicle doors and servos and much more – all with multiple unique performances per set.
Great care was taken to record each performance with the highest sonic quality and detail. We chose a pair of MKH50s in XY as our primary setup, creating a big, clean stereo image on every sound.
Motion Texures is a broad library with a narrow purpose: to draw sonic lines and create gently moving sonic textures.
The concept is that consistent sound of friction will translate well to visual design elements that have CG and text movement on screen.
We recorded the friction sounds of dozens of small to medium sized props in constant motion. Major categories include metal, plastic, cloth, wood and skin. Some of the most interesting sounds came from the props that had small cavities such as the spray can lid and the water bottle. The constant changing of the cavity state relative to the mics creates strange vocal sounds.
Once the sounds were recorded we employed a proprietary smoothing process as a second pass to the sounds and provided them in addition to the original textures. These smoothed out sounds still have the organic quality of the original recordings, but with far fewer transient events. The end result are sounds that feel straighter than the more circular sounding original textures.
Inside of the Kontakt instruments we stacked layers and effects to create a broad base of deep and interesting textures. Many of the Kontakt presets mangle the sounds far beyond recognition of the original recordings.
3 mic perspectives give full coverage on an antique typewriter in good working condition. The typewriter had a loose front plate and we clacked, hit and dropped it for a wide range of cool typewritery sounds. The Kontakt instrument presets requires the full version of NI Kontakt 4.2.3 or later.
Looking for vinyl noises, crackles, pops and buzzes? PHONO is a set of textures lovingly recorded from the blank spots of old and new vinyl records.
Comprised of various loops pops and decays, this collection spans the range of what a needle on an empty track can sound like.
108 flavors of rhythmic noise, crackles, hiss, pops, buzzes, bumps and air – packaged, looped, and ready to go. Great straight or with fx.
Ths library delivers a huge collection of quadrophonic hockey crowds from every perspective. And hockey crowds are different from other pro sporting crowds:
The NHL mandates that the music has to stop during play, which leaves every gasp, oh, and cheer free and clear of PA induced pollution.
This wrinkle in the rules of play means that pro hockey games are the ideal setting for recording arena crowds for any situation.
Our hockey crowds were recorded over the course of an NHL season and were done with unprecedented access. Entire games were recorded from various locations including:
– on the camera platform
– in the upper level seats in the hallway
– outside the doors pre and post game
– in the platinum level bar
– under the bleachers
– from the top of the penalty boxes
Each location was recorded in beautiful dual ORTF or double MS quad.
The end result is an immersive sound set that has been carefully edited and fully tagged with metadata. Finding the elements you need is simple and direct.
Pick this library up today and cover your arena crowd needs in style.
In films and documentaries there are often images of people in spaces speaking to other people, who are listening attentively.
The recordings of the person doing the talking are pristine from the set. The recordings of the rest of the room don’t exist. Room tones of empty spaces don’t possess movement and life that your soundtracks require for these situations.
Quiet Spaces is a collection of recordings of people gathered in rooms of various sizes and not talking
Libraries are a natural place to capture these environments, and so a high quality stealth kit made from a pair of Sanken CUB 01s discreetly placed from a backpack onto empty tables in various libraries. We also got access to a university campus right at the end of finals week where we recorded out in the open with a pair of MKH50s in ORTF. We captured an entire class taking a test, as well as various other lightly and sparsely populated spaces in and around campus.
The end result is a beautiful set of recordings of quiet spaces that are still filled with texture and movement.
Available in two versions:
Remington Rand is an early American typewriter and adding machine manufacturer formed in 1927. The last Remington Rand branded business machine rolled off the line in 1958. The adding machine that we acquired was an electric version in good working condition. Remington Rand also manufactured things like shavers, pistols and calculators.
Our adding machine has a big electronic mechanism for the summing function and nice heavy clacks for the regular keys. It also had some very sticky metal plates that would occasionally get stuck and then pop loose with a big resonant ringing sound. This specific defect made an incredibly interesting sound that is very unique to this specific machine’s wear and tear.
As with the Burroughs Protectograph we miked it with three different mono perspectives to produce three very different sounds on each move. We used Schoeps CMC6/MK4 mics on the front and back and an AT4050 for the wide perspective in mono. The close perspectives are great for big thick clicks and mechanisms, and the wide is excellent for use in one offs for bgfx tracks.
Signal Return is a performable Kontakt instrument and soundset designed to create a wide variety of interesting and textured sounds.
All of the source material comes from recordings of various devices feeding back into themselves either electrically or acoustically. No software based speaker emulators or distortions were used in the creation of these sounds. Comes with 250 .wav files – more than 2 hours of recordings + 22 Kontakt instruments (these require the full version of NI Kontakt 5.0 or higher).
The Squelch sound library is a collection of 6 radios, walkie talkies, and CBs recorded both through the speakers and in some cases through the line outs. Each device served up a broad palette of static, beeps, clicks, squelches, and random idle chatter.
Comes with 93 recordings with hundreds of individual sounds + one Kontakt instrument (instrument requires the full version of NI Kontakt 4 or higher).
The Kontakt instrument is a unique performable radio device designed for experimentation and discovery of the broad palette of sounds. It also includes a classic spring reverb unit with a custom interface created from a Pioneer SR202W. See the Kontakt interface here.
These authentic radio recordings are useful in sound design/film applications and can be twisted out into musical and sound design effects.
Swell is a performable Kontakt instrument and sound effects library designed to create natural sounding cymbal swells with a variety of different cymbals and performances. Cymbals include gongs, orchestral suspended cymbals, crashes, chinas, sizzle ride, and others.
Swell is divided into 2 parts: natural and designed.
The natural collection has recordings that are unaltered from their original performances and was created to produce clean, musical, natural sounding swells.
The designed collection uses samples based on the natural recordings that have been transformed into entirely new and different sounds using heavy processing and layering. It was created to produce interesting design and transition sounds quickly and easily. Swell includes over 200 fully designed rises.
In addition to the carefully recorded sounds we have created a truly useful and flexible Kontakt instrument. This instrument ties the mod wheel to an entire matrix of effect parameters that you can manipulate in real time for instant complexity.
Rodeos and horse ranches aren't what they used to be.
These days, rodeos are polluted with big PAs pumping rock and pop music through the speakers while the cowboys ride the bulls and buck the broncs. People watch through cell phones and keep a safe distance from the action. Horse ranches are overrun with the sounds of 4 wheelers and dirt bikes on the tracks nearby.
The recordings we have come from before that time.
Years ago we rolled out to the rodeo with full access, a portable DAT machine, and a determination to catch every angle we could take a mic to. The house band played from a balcony unamplified while the cowboys rode the bulls and the crowd cheered. The children rode sheep in a sport called “mutton busting” and the women mounted stagecoaches and raced around the arena at breakneck speed.
…and when the show was over the crowd stood up to leave, but the cowboys were still competing – so they kept riding.
The steer wrestling contest happened in an almost empty arena. We were there — up close, capturing every gate release, the sounds of the cow struggling to stay on his feet, and the single trainer cheering the cowboys on. The dirt and the grit and the steel clacking around were all there, exposed and clean and in their native environment.
After the rodeo we went to a local horse ranch and kept on rolling. We got gallops and canters, grunts and snorts. We handled the tack, shook the bridles, and swung the gates. We recorded in the barn and out on the fields.
These recordings come from a time before 24 bit 96kHz portable rigs existed, but they have a quality and fidelity that has survived the ages. Take a listen and remember the time when these things sounded like they should sound.
Get the sounds of the the Honda VTX 1300 – a distinctive cruiser motorcycle.
Its 1300cc displacement is right in the sweet spot between the zippier 750 models and the massive 1800 road warriors. This particular one was equipped with a set of custom Vance and Hines Big Shots exhaust pipes early in its life, giving it a distinctive and throaty note that can be heard up and down the highway. The VTX line is also known for its distinctive transmission, which gives a meaty ‘clunk’ with every shift.
This library is a set of recordings that were made using a combination of onboard and exterior mics at a variety of useful speeds, as well as free running on the highway. Its a smaller set, but very distinctive and useful.
We recorded multiple channels on every movement:
• Onboards consisted of Line audio CM3, Crown PZM and Sanken COS11 mics
• A handheld MKH416 rig covered bys and exteriors
After a half day of recording we had material ranging from idles and slow starts to fast bys and highway runs.
The Porsche 911 GT3 is not a typical race car.
With engine, transmission, air intake and exhaust all situated in the rear of the vehicle under a large wing, this pure driving machine has sonic characteristics very different from many familiar racing vehicles. Its exhaust note is deep and throaty and the transmission is snappy at speed.
The Porsche 911 GT3 library is a series of recordings that were made on a track just outside of Houston on media day for the Effort race team. These are 2014 Porsche 911 GT3 Rs that race on the Pirelli World Challenge series. Each car has a naturally aspirated, water cooled, four valve 4.0 liter flat six cylinder Porsche engine. These cars create 500 horse power from the factory and race with E10 fuel. The transmission is a Porsche six gear racing box with sequential shift mechanism.
With full access to the vehicles and the track, we recorded up to 13 channels on every movement.
• Onboards including Sanken CUB01, Crown PZM and Sanken COS11 mics
• Interiors captured with a Sure VP-88
• An ORTF array of Line Audio CM3s at pit row
• An array of MKH60s and a Shoeps MS rig at another straightaway on a balcony
• An ORTF array of Line Audio CM3s at a long slow turn
• A roving handheld MKH70 rig
After a full day of recording we had material ranging from idles and slow starts to whip bys and burnouts. We also got a wide variety of foley and ambient recordings that happened organically throughout the day.
The Rush is a collection of massive rushing sounds that are perfect for use in timelapses, swirls, swarms, and any other massive movement situation. It features 319 sound rushed files that were generated from 30 lovingly curated sources and carefully rendered in Sound Particles.
Sound sources range from trains and race cars to vinyl, metal and paper frictions to gore, motorcycles and helicopters. Parameters are tweaked to yield textured and interesting results with detailed heads and tails that rush in and gently dissolve out.
Each rush has a different number of particles running, so you get every level from sparse detailed movement to overwhelming waterfalls of sound per sample set. Check it out today!
Need helicopter sounds? The Bell 407 and Bell 429 are *THE* helicopters used in police, news, rescue, military and private fleets. Over 1 hr and 45 minutes of beautiful recordings.
With A Sound Effect, Asbjoern has created a web site where our international community can browse, learn, and share the vast fruits of our labors. Together we are accelerating the very real potential power of sound design as a recognized art form.
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