SyncerSoft has announced Nature: Noise Forest, a virtual instrument plug-in for Windows, which adds the sound and atmosphere of forest nature to your tracks and mixes.
The purpose of the plug-in is to add sounds typically found in the surrounding world. For this goal, Nature: Noise Forest has 19 sound profiles, including the sound of forest stream, cicadas, owl and night, birds, etc.
With the help of the embedded equalizer, it is possible to either emphasize or mute those parts of the river noise profile you want. The features of the equalizer are selected in such a way that it keeps its use of water noise sounding natural.
In the set there are 19 of Factory presets based on 19 of water nature.
The plug-in is available to purchase for 15 EUR / $20 USD.
ToneBytes has announced the release of its Noise Bundle, a collection of three plug-ins at 25% off.
From 15 Aug 2012 to 15 Sep 2012 get all the noise plugins for only $45 in one bundle that includes: Analog Noise, Ambient Nature Noise, Industrial Noise
Noise Bundle features
Industrial Noise — is an easy-to-use virtual effect plug-in for Windows which adds the sound of different mechanisms, machines and technical devices to your recordings. The purpose of the plug-in is to add sounds typically found in various industries, plants and factories. It has 21 sound profiles, including the sound of motors, pumps, fans, tools, and machines and much more other.
Ambient Nature Noise — is an easy-to-use virtual effect plug-in for Windows which adds the sound and atmosphere of alive and lifeless nature to your recordings. It has 21 built-in sound profiles, including the sound of birds, insects, bats, trees and other flora and fauna, and the sounds of lifeless nature such as sound of waterfall and rain, wash, fire crackling and much more other.
Analog Noise — is an easy-to-use virtual effect plug-in for Windows which adds the sound and atmosphere of analog recordings to your tracks and mixes. It has 21 built-in sound profiles, including the sound of magnetic tape with various coverings, the sound of vinyl records, and the sound of the signal of various tube and transistor devices, such as Hammond Sounder, Moog Liberation, Akai Ax-73, JVC MI-5000, etc.
The Noise Bundle for Windows (VST) is available to purchase for $45 USD until September 15th, 2012 (regular $60 USD).
ToneBytes has released Ambient Nature Noise, a virtual instrument for Windows, which adds the sound and atmosphere of alive and lifeless nature to your recordings.
The purpose of the plug-in is to add sounds typically found in the surrounding world. For this goal, Ambient Nature Noise has 21 sound profiles, including the sound of birds, insects, bats, trees and other flora and fauna, and the sounds of lifeless nature such as sound of waterfall and rain, wash, fire crackling and much more other.
Add the sounds of nature to your music with ToneBytes Amient Nature Noise for Windows.
Ambient Nature Noise features
3 slots for mixing different noise profiles to produce complex and variable noise environments.
Embedded equalizer for emphasizing or muting those parts of the noise profile you want.
32 factory presets based on 21 noise profiles.
Built-in preset manager makes it easy to save the settings and quickly access them or share them with other Ambient Nature Noise users.
VST automation and full MIDI Learning are supported.
The Ambient Nature Noise plug-in for Windows (VST) is available to purchase for $20 USD / 15 EUR.
I count Soundiron among some of the most interesting sound library developers I know.
Whether it’s the 30-voice male chorus of epic choir library Mars, M1 Garand’s rifle sound fx, a tear-jerking Emotional Piano, or the Bronze Bin percussive sounds made with a trash can, Soundiron seems to be able to take any sound source for a proper deep sampling session and turn it into something beautiful and useful.
So how about a bunch of glass pebbles on a beach? Enter Glass Beach.
Glass pebbles at “Glass Beach”, MacKerricher State Park (Fort Bragg, CA)
For this sample library Mike Peaslee went on a trip to record sounds at a place that was once used to dump refuse.
Beginning in 1949, the area around Glass Beach became a public dump. It is hard to imagine this happening today, but back then people dumped all kinds of refuse straight into the ocean, including old cars, and their household garbage, which of course included lots of glass.
By the early sixties, some attempts were made to control what was dumped, and dumping of any toxic items was banned. Finally in 1967, the North Coast Water Quality Board realized what a mistake it was and plans were begun for a new dump away from the ocean.
Now, over 30 years later, Mother Nature has reclaimed this beach. Years of pounding wave action have deposited tons of polished glass onto the beach. You’ll still see the occasional reminder of its earlier life, such as a rusted spark plug, but for the most part what you’ll see is millions of pieces of glass sparkling in the sun.
In 50 years we’ll probably be saying the same thing about some of the things we do in this day and age, but… what were they thinking?!
The Glass Beach library includes 225 samples (24bit/44kHz, non-encrypted PCM wav files), which are used in 31 Kontakt patches in three categories.
The percussion section includes various pebble sounds (hit, scrape, bounce, etc.) and some individual footsteps. These are mostly high pitched click-type sounds, great for adding some interesting glitchy elements to your music, or you can use them as a support or main part in your percussion. Using these sounds with the included “Uberarpeggiator” Kontakt script is easy and fun.
The Glass Beach Grain Hit patch with the “Uberarpeggiator”
The ambient soundscapes category includes sounds of waves crashing on the shore and in a tide pool, a waterfall trickling down a sea cave, and some sounds of man and his best companion walking through the sea glass sand and the pebbles on the beach.
Since these samples were recorded in an outdoor location you might also notice some “unintended” sounds, most audibly some sea birds (I guess). One of the presets actually includes a flock of geese flying over. The lengthy ambience samples can be set to start at a random position with the “Random” control to achieve a kind of round-robin effect.
Lastly, there’s the special fx section. Here we find a number of designed instruments, including some synth and pad type sounds, creative percussion, sound fx and more. Quite a lot of processing is going on with most of these, and in some instances unrelated samples are used as well (e.g. the Glass Piano). These are not necessarily typical for Glass Beach. However, they are a nice addition to the palette of sounds and they work exceptionally well with the other content in Glass Beach.
The Kontakt instruments include a number of performance controls (controls vary per instrument), the Tone/FX panel with various effects, and there’s the custom “Uberarpeggiator” script mentioned earlier.
A collection of 40+ convolution impulse responses is included as well. These are readily available in the reverb section of the Tone/FX tab for some instruments, or you can use a 3rd party software of your choice.
Check Mike Peaslee’s video below for a quick tour of the Glass Beach library.
So what do I think?
Product: Glass Beach by Soundiron Format: Kontakt 3.5+ (unlocked), 24bit/44kHz samples Price: $9.99 USD Like: authentic & original, well designed sounds, value for money Don’t like: — Verdict: 9/10
Glass Beach is found in Soundiron’s “Experimental” category of instruments — and rightly so. It’s basically a mixture of field recordings and designed instruments which match the character/vibe of the location. Obviously this library is not going to be everyone’s cup of tea. To me, the sounds of Glass Beach are quite beautiful, evocative and inspiring.
The glass pebble sounds have a unique quality, great for creating glitchy rhythms. I reckon the ambiences will appeal to soundtrack composers, for film/tv/games, or perhaps for use in music productions that just need that soothing quality of sea and beach sounds. The included “special fx” patches are well designed and a valuable addition to the library, bringing greater diversity of sounds. I absolutely love some of the delicate, dreamy and hauntingly beautiful tonal patches.
Soundiron is selling this library for $9.99 USD, a real bargain if you ask me. Glass Beach is packed with unique sounds, it is well produced, and — true to Soundiron’s mission — it feels like a proper labor of love.
Soundiron has announced the release its Glass Beach sample library for Native Instruments Kontakt.
About 150 Miles North of the San Francisco Bay Area, you’ll ﬁnd Fort Bragg, CA, an old coastal village at the foot of the redwoods. For decades, townspeople brought their household and industrial trash to the sea, dumping into towering piles rising 30 feet high above the surf, before “The Dumps” were finally shut down in 1967. Glass Beach is all that remains of the town’s former garbage dump.
After years of clean-up, all of the large junk was removed, save for the many tons of broken glass shards that were far too small and plentiful to gather up and haul away. Over the years, the crashing waves and abrasive sand have pounded and worn those millions of tiny glass fragments down into perfectly smooth translucent glass pebbles and beads. Like glittering jewels, they can be found in every color of the rainbow. They number so great that the beach seems made entirely of sea glass. Once an ecological disaster, it has become a remarkable example of nature’s resilience when we clean up our mess and try to leave things alone for a little while.
From a sonic perspective, the millions of glass beads shifting and tumbling in the gentle surf create a remarkable effect. The sound is not unlike that of ice chips on the shore of a thawing lake, but on a grander scale. The distant mournful wails of fog horns and sea birds casts an eerily serene hue over the sound-scape and the cliffs suppress most the encroaching highway and city noise.
We captured several ocean surf and tide pool ambiances, as well as gentle waterfalls trickling through the narrow caves and gullies than ran down toward the beach from the cliffs above. There’s also useful foley included, with footsteps that can be used as percussion or cut and re-purposed for steps in sand, gravel and even gritty snow in a pinch. We also created a wide variety of tiny “glitch”-style percussive elements, using some of the sea glass that migrated to other nearby beaches. Lastly, we used various sound-design tricks to morph and transform the sounds from our journey into a wide range of tonal and dissonant pads, swells, stingers, synth-tones, ambient dreamscapes and disturbing hellscapes.
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