Polygon is a new sampler plugin designed to facilitate the creation of stunning composite sound effects. Co-developed by Ivo Ivanov and Thomas Hennebert, Polygon was conceived from the ground up with unconventional attributes and a fast, forward-thinking workflow.
Layering samples is only the beginning. Polygon’s unique granular mode will bend your samples into fresh material while its clean and logical interface, extensive modulation options and distinctive sonic fingerprint make it an invaluable tool for creative sound design.
At the heart of Polygon, you will find 4 Sampler modules featuring a granular mode and various play and loop modes with focus and loop range sliders. The modules are supported by 8 LFOs, 4 modulation envelopes with variable slopes, two multi-mode filters, three effects processors, a sub oscillator and various global parameters. All of Polygon’s components work in conjunction with its modulation matrix to allow you to achieve extremely dynamic results with relative ease.
Polygon’s sound set was compiled to facilitate the broadest possible range of sonic flexibility. Its core is driven by a 1.2 GB sample library comprised of brand new material and previously unreleased alternate edits from our entire range of sound ware products. To get you started, we included factory presets from Ivo Ivanov, Thomas Hennebert, Nicholas Yochum and Daed. Load any of your existing samples and listen as Polygon takes things in exciting new directions.
1.2 GB 24bit/96khz .wav sample library
4 monophonic Sampler Modules with Granular Mode
Play & Loop modes with Range Sliders
4 Mod Envelopes with Cycle Mode and variable slopes
8 LFOs with Retrig, Sync and built-in Multipliers
3 FX Processors: Metalizer, Stutter and FM Ring Mod
Sub Oscillator with Sine & Square wave with PWM
Comprehensive Modulation Matrix and Global RND Isolate Suite
Cross-platform compatibility (PC/Mac – VST/AU 32bit & 64bit)
Great synopsis of the production side of NIN. You never know if things will work out until they do. Lots of Alessandro and Justin cameos.
“Free 14-song Nine Inch Nails show filmed in LA last month, streaming in HD. I’m excited that we were able to get this show documented and that we can put it out for everyone to see. It puts a great bookend on an amazing tour. I’m more excited for the Blu-ray release next year though – I spent last week sitting with the editor of this Vevo cut, finessing it and making tweaks and doing color corrections, and there’s a lot of detail that gets lost here but will really shine on Blu-ray. Plus there are some great production moments from the show which aren’t in this cut, but will be on the final release. We’ll have details and pre-orders on all that stuff soon, we’re still getting the specifics worked out. For now, set this to full screen 1080p with the sound cranked, and enjoy.” – Rob Sheridan
You’ve probably seen the video in the past few weeks or its predecessor, going to the store, in the past couple years. An old friend of TRASH_AUDIO, Jamie Vance, performed the sound design duties for late for meeting and is giving T_A an inside look into scoring and sound designing a viral video. The following sound design version of the video was expected to be premiered on Wired and their article for late for meeting, but they don’t give a shit about sound and we’ll gladly take sloppy seconds. Jamie sat down with Brent Rogers from REX Production & Post in Portland, Oregon and talked about the processes that went into making a video that had over 10 million hits within weeks.
late for meeting Sound Design Cut
Brent: What exactly was your role in ‘late for meeting’, like, what audio did you provide?
Jamie: Well when it was shot, it was shot on a Canon 5D with – for lack of a better term – hacked firmware that allowed David Lewandowski more control over various parameters in the camera. This helped the footage look stunning, but a caveat is that the altered firmware doesn’t allow audio recording. Thus there was literally no acoustic sound or audio of any kind originally, aside from Jean-Jacques Perry’s song, of course.
So I designed all the sounds in the piece, and composed a funny little muzak piece that you can hear playing overhead in the grocery store early on in the short.
B: That is excellently cheesy sounding.
J: I know, man. I made a downloadable ring-tone version of it and put it up on SoundCloud. It’s gotten thousands of plays, tons of downloads and hilarious comments – I was really amazed by the response. Usually online if something requires more than a single click of the mouse, you know, you don’t expect anyone to even check it out, or to go that extra mile. Considering this was kind of hidden in the YouTube info pane, I have been so happy about how many people liked it.
B: You can hear quiet sound effects beneath the score sometimes, does your sound design exist throughout the entire piece? J: Yeah, I basically covered it from start to finish. Once I mixed the version for the public, I pulled the sound effects way back during the score-heavy sections, of course. We did also render a sound design only version which is entertaining in a different way, and, considerably more terrifying. [laughs]
B: How did you manage the sound design portion of the work?
J: The usual situation, pulling from sound effects libraries, my own recorded library, and recording foley (physical movement noises) manually to cover all my bases. I would go record foley in one of the big spaces at REX Studios, otherwise just working at home. Of course, anything from a sound effects library I heavily edit or mix with my own recordings in some way – I’m to that point as a sound designer where I am kind of cursed, I can hear every stock tire-screech or Gate Opening_001.wav in stuff, and it just makes me cringe. So I really work hard to make everything sound as if it was captured uniquely in the moment, even if it very much so was not.
B: Any unique challenges?
J: It’s funny, you know, finding the right sound in your library is mostly about knowing the right search-term to use – kind of like knowing the best words to search with on Google. But, when you pull up even the most decked out, comprehensive sound effects library and query the term “nude man violent flailing” you pretty much get like zero results, one hundred percent of the time. [laughs] So, yeah, making creative, funny, realistic foley for the “rubber man” required some risky techniques. He’s close to my heart, though, so it was worth it.
B: What do you mean, risky? Sound design and post work isn’t usually considered dangerous.
J: [laughs] Well, after crafting his footstep sounds to my liking, his physics-and-physiology-breaking movement still needed a better aural representation, to me. Such a hilarious and terrifying movement wasn’t done justice with just barefoot footstep sounds. Here again, libraries came up short, because 99.9% of all movement foley is based around cloth, leather, some kind of material the person is wearing. I wanted to hear his skin actually rubbing against itself, you know, so there was no choice but to record myself doing this.
This resulted in a late night guerilla recording session at REX where I had my partner stand in as engineer. It was pretty ridiculous – her, a little bewildered running ProTools over a gigantic mixing board, watching as I scraped my forearms together and tried to imitate the creature’s movement. Eventually I needed more “real estate” shall we say, so I had to take my shirt off. I was so afraid that you or the studio owner would just happen to stop by that night, peer into the little window on the sound-lock door and see me shirtless beneath a single over-head light, frantically rubbing my arms together like something from Jacob’s Ladder.
B: That does sound pretty hard to explain.
J: Yeah, I was just imagining the next morning the studio staff would’ve all received an email to the effect of, “Jamie has suffered a mental break – please sever contact and keep your distance.” The risk of being associated with the dangerously insane was worth it, though.
B: Then you must want to keep working on projects like this, right? What’s next?
J: That’s what ‘late for meeting’ has shown me, more than anything. I didn’t know what I was in for before it began, but it turned out to be one of the most satisfying projects of my career. Working on something creative, for no one else other than you and your team, for no purpose other than to laugh and express, with basically no guarantee, or expectation even, of “success” or remuneration – I don’t know, there’s nothing quite like it. The fact that over 10 million people watched it in a couple of weeks only serves as encouragement to do it more. It makes me super proud, of course.
I can’t say what’s next precisely, but we’ve got some work planned overseas next year. More than anything, though, I just know this is the kind of material and work I’m going to stay focused on right now. It just feels right.
late for meeting Original
Heartfelt thanks goes out to Jessica Tomasin of Mountain Oasis festival and Kelly Kelbel of Make Noise for helping facilitate this past weekend. Without these two wonderful women, this would not have been possible.
Carl Oliver’s Set
Timelapse of Synth Meet 13
Glitchmachines release CHIMERA, the fourth installment in a MACROPACK sample pack series.
“CHIMERA is the fourth installment in our $9 MACROPACK series. Macropacks are affordable sample packs that feature high quality sound effects equally geared toward music production, multimedia and game audio projects. Chimera features 200 sound effects by Ivo Ivanov, inspired by demons, ghosts and creatures from the darkness.
Comprised of some of our darkest and most disturbing material to date, Chimera is focused on a unique hybrid of psychological horror and technical monster sound effects. You will find demonic vocalizations, haunted atmospheres, mutated creatures, cursed ghosts and chilling supernatural drones that will wake the dead.
Chimera comes with a staggering 2.5 GB of audio content, which has been meticulously crafted to compliment modern productions in need of sophisticated, forward-thinking sound effects. This Macropack includes Kontakt 5 kits for instant access & playability.
Whether you are an electronic musician working on your next big release, a sound designer working on a theatrical trailer or a game audio engineer developing assets for a blockbuster horror game, Chimera delivers uncompromising quality at the highest possible value.”
CONTENT & FORMATTING:
• 2.5 GB of 24/96 .wav audio files
• Sampler Kits for NI Kontakt
• Approximately 2.5 GB of free hard drive space
• Native Instruments Kontakt 5 for Kontakt content
AVAILABLE NOW FOR ONLY $9
SHADOWS is a FREE download of 50 SFX by sound designer Ivo Ivanov.
Shadows is the fourth installment in our FREE Nanopack series. The goal with this series of sample packs is to bring you exclusive, high quality sound effects with the same uncompromising production values as our paid products.
Shadows features an exclusive collection of composite sound effects with a dark, sinister aesthetic. You will find a unique hybrid of psychological horror and dark sci-fi, comprised of highly technical drones, articulations and textures.
REQUIREMENTS & CONTENT:
Approximately 550 MB of hard drive space
Approximately 550 MB of 24bit 96kHz .wav audio files
Grischa took it upon himself to interpret the Workspace and Environment series and approach it in his own way. I encourage this type of behavior.
I would have to tell you, who else? (In english?/ Auf englisch, dieser vermittelnden sprache, wo sich die woerter zu einander verhalten, wie idiosynchratische uebersetzungen von gegenstaenden) Portray gravitational lines, draw (in reverse) the traction of things here: emigrated, emmisive, haunting – where your traces (in me) earthed the appearance of a machine. a strategy, a fetish – tied together by a history of words I raised my habits in. A family, not a pattern.
You would never ask for the determination, as I would never question your strength. You’ve been there, always before me, constantly, prevenient, anterior. I’m building pairs of three, a bundle of scattered references. The deranged double. Irritated look-alikes. ‘you’, you split apart – there is this text and there are the words we have drowned. I have to tell you, tell, recount, report. Is there a single instrument I could use to sing to, still?
You know the pine trees, the lime and all the other plants, where I was hiding away from no matter what. La demeure/demeurer lettre morte – il y a pÈril en la demeure. How could I possibly tell someone else, not you? Just talk sense into the demolished glazed tiles of the corridor and the rudiments we saw of the timbered toilet haven where he was unraveling mysteries we didn’t/don’t know about?
They asked me (I don’t really know why) to tell them about the AK141 philips (tuned bassport) speakers, about the Spirit Folio mixing desk, about Sony’s Sonic Soundforge and all the other things I got used to. Tell them how I would have screamed Soundgarden lyrics towards the speaker’s membrane? Do you remember that they had been on the top of the shelf and I needed to climb up there, standing on a board case, clutch something to not fall off? The tinned voices – a face I stared at, always through the black hole sun of the conical diaphragm. How could I describe it to them?
The potentiometer’s crackled accusation – regardless I am still sitting there in your old studio-den, where you trusted me to live-mix your new impro-band. I messed up every tape. All these things weigh heavier every day, the dust constantly accumulating the lapses, re-recorded sough in signal paths. No, I won’t encourage anyone to prance such disposition, I promise. But I have to tell you.
You taught me to slide the caret over the Soundwave in Soundforge (4.5), you trusted a compression beyond +16db in Sony Acid, you cared about the lines and verses, believed in the absorptional potential of e-minor on a children’s guitar, sprayed blue with stolen can’s. I will have to apologize to print, to show, to tell.
What contamination spread from this unnamed demarcation of subtracting him from this planet? Could you trust these words (oder jene) any longer? No, I have to say, even if it is so unbearable pretentious elaborating this few signs in this foreign language to release them into an inappropriate, indecent, but open space of many eyes, I have to tell you…
Photos by Sarah Ambrosi