Walkthrough: Originals Media Toolkit

[Music] [Music] hi paul thompson here from spitfire audio i'm very excited today to be showing you originals media toolkit now this is a collection of sounds that i've put together from some things that i've recorded over the years for specific tv shows but also a few new things that i've got together as a grab bag of really really useful sounds for media production but actually they're kind of useful for any aspect of production composition 100 of the proceeds of sales of this library go to the charity blueprint for all who are working to create change for young people and our communities and to work towards a more inclusive society they're a really incredible organization and i would urge you to check out their work so let's dive straight in with the acoustic instruments in the collection and the first one is a sample set that i made myself of my yamaha c3 grand piano with my sherp's mics in my favorite position and i love the sound of this piano i hope you do too [Music] so this is not supposed to be a replacement for all of your other piano libraries but what it does do is it captures that very very useful timbre and i've always liked the yamahas because they have a brightness to them and you can always mellow off that brightness but it's very hard to make a mellow sanding piano bright if you know what i mean so the this piano cuts through the mix but it also has a beautifully warm rounded low end now i've done a few different treatments of this um we've got the clean version which you just heard and we've got an ep version now this is uh my kind of take on the cp70 sound that i love from the peter gabriel records of my youth and just raw it sounds like this [Music] [Applause] [Music] [Applause] [Music] so as you can hear it has that kind of uh tiny tine tiny kind of sound um but it also has the compression that kind of kicks in at the top so it really sounds like it's kind of struggling against against the doors to get out um and i've got it running through just our the onboard reverb which is just this plate reverb we've also got a lush reverb i'll come to that shortly and you can change the attack and releases of a lot of the sounds in the library as well those are the basic controls but if you want that genuine kind of pizza gabriel sound then what we need to do is we need to put it through a chorus and for this i'm just using the logic chorus really really straightforward and that makes it sound like this so it's just a bit of fun it's me processing the original piano recordings the original samples and uh turning them into this kind of um this kind of almost cp70 like sound now our fabulously gifted team at spitfire have helped me out with some of the sound design of the library and some of the warped sounds thank you very much john joe just a quick name check there and this is one of those things this is the pad signal which is a kind of reversed and kind of morph sound of the actual piano so check this out and you can have a lot of fun by actually just putting all of these signals up together and just jamming away [Music] so next up in the acoustic section is the flute effects now as this might uh imply from its name this is my self blowing through a flute and making the only real sound that i can make from a flute which is that kind of fantastic overblow chiff lots of different variants of this now this loads up with the kind of sound that i imagined using this patchwork we've done that throughout the library we've kind of set them up so that the initial patch loads up in in the way that it's intended to be used so for this [Applause] [Music] it's got that kind of hyper long thing but if i if i pull the reverbs out and just put the clean signal up then this is what you get you get the idea it's super um super straightforward um but with the height signal which is like a kind of always when we've got hype here it's like a kind of intensified um so it'll be kind of maybe eq'd a little bit maybe compressed a little bit anything that can draw out the the intensity of the sound that kind of thing and when you put the reverbs on you can either use the plate for a shorter one [Music] or you can use the lush for a really beautifully long kind of lush sound and then for the ultra ultra long there's this frozen version now next up in the acoustic instruments is the guitar this one came from an idea um which i read about daniel lanois and brian eno when they were producing the joshua tree for you too they had a technique where they would layer a very very softly strummed or plucked guitar behind other parts and then they would use that maybe put loads of reverb on it but use that texture and it's that sound where the thing is so soft that you can hear the finger striking against the string and all that kind of stuff all that good stuff so um i'm just going to play it and then we'll we'll have a look at what the components of the sound are [Music] now you can hear in there we've got all kinds of reversing business and things going on but i'm going to take everything off and i'm just going to play you the clean sound as it was recorded [Music] now it's really really straightforward and simple and we've got uh velocity control in here so that you can play this low level this this kind of ppp level louder and softer and make it almost like they're kind of i guess this is like the acoustic guitar version of the um felt piano for example [Music] but in addition to that i mean that already sounds great if you put a giant reverb on it then it sounds fantastic but we've got these other elements we've got this pad made from it [Music] and you can alter the attack and release of that so it becomes a kind of beautiful sound on its own but then we've got these fantastic hairpins and if you always hover over the name or any of the controls on the ui you'll find a little bit of extra detail and again these are warped and reversed to create a swelling hairpin shaped sound [Music] and if we put a bit of reverb on these i'll put a mixture of the two really um fantastic verbs we've got on this and we'll put the um actually i'll just play it just with the reverb [Music] so you do get like a double help in there you've got the more reverb you put on the more kind of the swell connects up to the initial note [Music] and gives you a really nice effect but then if we put that clean signal back in [Music] let's pull the attack back down [Music] so it does all kinds of things but the primary uh purpose and use of it for me when i recorded this was to do this kind of background really simple background kind of [Music] [Music] it's designed to sit behind other sands and provide that kind of texture and especially when you use it with the reverb it gives a kind of wash of sound your ear shouldn't be drawn to the actual guitar sound itself it should be drawn to the thing that is laying over it that's the kind of concept of it anyway but as you can hear it's great to use as its own instrument so that brings us to marimba and this was sampled in one of my old studios in farringdon and i went mad with the dynamics so i didn't want i wanted it to be single round robin so that it's so that it's always repeatable um but i wanted to have lots of different dynamics so here we go [Music] now what does it sound like without these fabulous uh sound design elements it sounds very very dry clean [Music] [Music] and if we put a bit of splosh on it [Music] [Applause] [Music] so you can play super quiet with it but it has these great frozen and blown bottle type effects [Music] which give you that lovely kind of length and a lovely kind of warm start to the sound metallophones is um it's a grouping of two different sounds one is a soft glock which i recorded here in this room and that the design of that is supposed to be like the guitar it's supposed to be like a layer that you can put behind another sound and it's played as softly as i could humanly possibly manage and then some hand bells that i recorded uh quite a few years ago and these are these uh school handbells they're super easy for children to play because you just kind of do that and that little hammer attached to the bell strikes on the tine so as it loads up out of the box it sounds like this [Music] so we've got a couple of different sounds going on in there but if i just show you them completely dry you've got the soft glock which is the was the root of this sound [Music] now this is a sound that sounds particularly beautiful when you play it through reverb [Music] then the hand bells signal let's pull the reverb back off [Music] and again that sounds great with a bit of reverb on [Music] uh and then we've got the stretch sand which again is this lovely uh stretched and warped so you could even use that on its own as a pad which brings us to the synths section now i recorded a few cents i've i've basically started again with a couple of things i recorded in the past but did very very kind of quick and dirty um just to get them into my door because i was using them on a specific queue in a tv show and so what i've done is i've gone back and started again with a couple of these sounds a couple of the more uh tonal synth sounds the there are a few effects in here a few kind of kind of sound design-y things which i'll show you as we go through which are as they were when i recorded them back a few years back so um as it loads up first up here is the ethereal pads [Music] [Applause] [Music] so what have we got going on here well let's take the reverb off and i will show you pull the attack down as well i'll show you the first component of this sound which is br 2020 i'll leave you to guess what br might stand for but again it's an inspired by a certain type of synth sound [Music] so a really useful kind of general purpose rich synth sand that you can use it sounds really great layered under strings so it's a it's a particularly good background sound as well because there's lots of movement in it the next component which i've called wow is a pad that i made on the juno 106. [Music] and it does have that really juno sound to it it's got that great kind of filter and uh adsr sound the final component is called fischer and this is a sound that i made i'll play it first [Music] this is a great sound for adding air to existing synth sounds but i made it actually from a microwave and i think it was in los angeles in 2012. so this is a sound that i've recorded just and then mess around with i think i probably stretched it in izotope rx and made it into this kind of um you know it's a like a hiss layer it's like a noise layer but it's slightly more complex and interesting timberly than the standard kind of noise layer that you get on a lot of synths which is just either white or pink noise so quite a useful thing useful not only in this context of putting it together on this patch but actually you could try layering this with other synth sounds and also if you put the reverb on it it sounds fantastic check this out next up we have what we call aggro since patch and this is uh some slightly more aggressive synth sounds [Music] now again just to play these one by one the first one up chainsaw [Music] so this is again a juno 106 sound which i've put through i think the mobius there might be a little bit of distortion on there as well just to get something that's kind of got some movement and some kind of modulation within the sound the next element is queasy [Music] so another similar kind of really useful texture there and finally motorized again you might think what is that well this has its genesis back in those sampling sessions in los angeles in 2012 when i was living there and it is actually a a garage door opener so again stretched and messed around with an izotope to make one of these kind of noise layers so when you add that in to the other sounds and we put a bit of the verbi back on [Music] you get that really great added kind of fizz and air to the sound so on to the bass synths finally and this is something that i'm constantly using on my uh subfatty i'm always dialing in these sounds and um judo 106 is great at this as well but the sub one is the is the moogie sound and it's something that i use so much that i sampled it and it sounds like this [Music] so it really does have an amazing amount of sub in there now this with the right attack and release i would use this to layer under orchestral low strings so under your bases find the right balance this will really fill in and give you that kind of real amazing underbelly to the to the bases next up are two sounds i've called blipper and uh i think i should just play them and you'll get the context immediately [Music] [Music] now you get the idea these have loads of sub in them but they're really really useful for those kind of repeating that kind of thing you've got an amazing lfo here as well [Music] now the reason that we've designed this with no resonance is because you can always add the resonance so if you wanted to use something with a super resonant so you get a real squeal out of it as you're moving the frequency control then use a fab filter or something like that there are tons of plugins including some great plugins in logic and in cubase that you get with the program and i'm sure with all the other doors as well so i would use something like that for that now what about blipper2 so again very straightforward it's a just a really useful sound honestly these these little um bips whatever you want to call them um i'm just always layering this this kind of stuff in and then i will automate it in some way i'll either just ride the overall volume so it's just kind of coming and going while other things are happening or you know sometimes put a bit of pan on it so it's moving around in the sandscape but they're just incredibly useful so next up the household hits section of the library and we're starting with computer keyboard you might think what use is having a computer keyboard sampled well i would uh in the first instance direct you to dario marionelli's oscar winning score to atonement which featured the typewriter but obviously this is a computer keyboard now the inspiration for this came from prince's most beautiful girl in the world the uh introduction was uh this intensely close mic'd computer keyboard tapping away and then a woman's voice saying uh something along the lines of you have now accessed the beautiful experience or the gold experience or something like that but that sound of those computer keys being hit always stuck with me and so i've done various versions of this along the way to try and recapture some of the feeling that that gave me and this has been put together by sandy who you will all know from our support department and he has recorded this incredible version of the computer keyboard with a really old fantastic keyboard and has really nailed it now as you'll see we've even gone to the extent of putting release triggers on so that you can control how long you get before the uh key goes back up now you're listening to the clean and the hyped signal and digital warp so let me show you what the individual signals sound like on their own with the hyped and with the digital warp so you've got three really really useful signals here and if we um whack them all on and put a bit of plate on [Applause] you've got a very flexible sound you can pitch it up or down as well to kind of get different effects but actually this is a really useful alternative percussion sound it's something that you can use in amongst all your other percussion and it just sounds odd enough that people won't be able to tell in context of a full composition exactly what it is obviously unless you really want to feature it and have it right up in your face latch locker now this is a sound that i recorded back in la and this is a an external door lock i think that had this kind of spring-loaded lock mechanism and when i first locked it i thought i have to record that that is absolutely incredible and so here it is so if we take the reverbs off and you just have a listen to the clean signal you get the idea and we've as before hyped it and warped it so there's lots of nice clunky crunchy sounds in there for you to use again really useful alternative uh percussion sounds so next up plastic hangers what a bizarre idea or title of a patch you might think um and when i was working on a show called uh ways to save the planet or discovery project earth depending on which territory you're in i wanted to make a score that was like an action score but had uh lots of household type sounds lots of sounds of peop of things that you might be using if you are cobbling something together in the spirit of the show which was um a series of experiments on um reversing climate change so amongst other things a couple of which you'll hear coming up shortly i was just in the process of setting up my template for this and i happened to be running downstairs holding a set of plastic coat hangers and they bounced as i was jogging down the stairs and they made this sound the kind of three or four of them going together that just made me immediately divert to the studio to record them because i was like oh my god that is such a cool sound here it is now there are lots and lots of individual samples across the keyboard and they all have a very slightly different some of them go slightly slower some of them are snappier and so you can always lock into three or four of them that really fit with the rhythm track that you're creating and then cycle around those and use those for the rhythm but as before we've got the hyped signal and uh the digital warp so you can get that kind of really nice crunchy sound um again just a really really useful sound scissors was another inspiration for um the idea of using these sounds of things that you you know use to kind of make do it yourself kind of thing and you can hear in there there's you know um different ways of playing the scissors if you'll forgive such a ridiculous idea now this sound is a prayer bowl and it's not been recorded in a flat which is was a confusion that arose in the patch naming amongst my spitfire colleagues but amusingly it's actually in a flat so it's an a flat um but it was such a wonderful sounding bowl that i wanted to sample it so that i could use it for i'll show you [Music] so just clean and with no reverb it sounds like this [Music] [Laughter] now you'll see that the way that i've laid it out you've got the muted sounds at the bottom which are in increasing kind of dynamic increasing play dynamic as you go at the keyboard and then we've got these two alternate betas [Music] uh kind of hard and soft and then at the top [Laughter] [Music] is more of a kind of finger snap kind of sound but the thing that i love about this is not to use it to kind of play a melody or anything like that it's um that's why i've laid it out like this and i would go maybe next up in kitchen hits is the china hits and this is a really simple little patch and it's just a load of slightly different taps on a china mug but again it it's very very useful for that kind of uh it's one of those things that's a little bit hard to work out what it is if you hear it in context and that's what i was all about when i was creating these sounds is how can i make something that's not a kind of boring standard percussion sound that's something a little bit different that when you hear it you can't quite place what it is and then glass hits again similarly it's that kind of that kind of vibe now body shakers um but a little bit of plate reverb on this um is uh just a it's just an idea for a different kind of shaker and this shaker is just rubbing your trousers so it's different kind of i managed to get different kind of rubs uh different parts of the body and a couple of double ones there so you can put together a really cool shaker part using these sounds and it doesn't sound like a shaker so that's what i love about it it's a really interesting sound and again we've got the hyped signal and the warp for these two as well next up in the high section is my hi-hat it's a sabian aax it's i recorded it here in the studio and it's because i could never quite get the exact thing that i wanted from a high hat just a hi-hat on its own and it's kind of inspired by the opening of peter gabriel's red rain which is the most spectacular hi-hat part i think i've ever heard committed to tape and that is of course played by stuart copeland so what is going on here i mean obviously i'm a terrible finger drummer for a start but i think you can probably hear it's very tight it's really uh beautifully recorded if i say so myself uh using a small condenser mic quite close to the midpoint of the hi-hat between the center and the edge and i've recorded a true left and right hand so left hand right hand it's very dynamic as you can hear and it has two stages of looseness as well so left hand right hand left and right hand you get the idea it's i find it amazingly useful paper shaker again it's a super simple idea rub two pieces of a4 paper together to get a uh shaker sound again it's a different kind of shaker and one that you can really um use very easily in your tracks and the final thing was something i recorded um and this was for the discovery show so this was a tight tambourine i wanted to hear the jingles but i wanted it to be really crisp and very very short so we've got this so you've got those different kind of hits but all of these you know you can create um with the different hits in here a really nice very very tight crisp and short tambourine pattern that doesn't have too much jingle or kind of you know chaos around it and again used as part of a um a kind of action sequence programming section it's really really useful so in the knock section we've got some wood knocks if i just put the clean version of this up on its own maybe a little bit of plate we've got finger taps again i'll just uh load up the clean version on its own so you can hear these as they are now you might notice a tiny bit of tonality in there and the reason for that is because these are finger taps on the keys of a flute so that's quite a useful little sound again all of this stuff is alternatives for your programming needs for you know any kind of media programming where you're building up a rhythm another really useful and odd sounding alternative to percussion instruments soft knocker it's probably the surface of a drum being hit with something marked from underneath when i've got it hand muted again it's like a it's just an incredibly useful sound design element of things that you can program little patterns with and have them all spaced around the stereo field and it just gives you this amazing kind of bubbling sensation of stuff rhythm and finally string hits on the guitar again it's a really useful sound for either for rhythm stuff you know to go with the sound of the guitar or to just use as just another alternative i really love putting together um you know those kind of bubbling uh percussion sections which are kind of motoring cues along out of sounds that aren't necessarily just straight percussion sounds they're things that are alternatives it's really great to find your own sounds you don't have to capture this stuff in the absolute best studio quality if you're somewhere and you hear a great sound and you can record it you can always tidy that up and make it work when you get back to the studio so i hope you enjoyed that brief walkthrough of the originals media toolkit as i said 100 of the proceeds from sales of this library go to blueprint for all a fantastic charity doing amazing work with young people and in our communities which is much much appreciated thank you very much for watching and we look forward to seeing you on the next one bye-bye you

Channel: Spitfire Audio

Views: 12,524

Rating: 4.9234166 out of 5

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Id: YoOJIfzhrA0

Length: 37min 37sec (2257 seconds)

Published: Thu Sep 16 2021