When we set out to create a new library built from custom, unique instruments, we were initially planning on just a few deep-sampled sounds. However, as the vision for Resonance became clearer, we decided that a whole collection of such deep-sampled instruments would be an incredible tool for all types of composers and producers working in any number of genres. As the recording sessions progressed, we constantly experimented with new techniques, mics and tools; each new sound we discovered was inspiring and had to be included.

As we combed through the recordings, we found that the wealth of sounds were ripe for further sound design. With the help of programmer and sound designer Iain Morland, we took it upon ourselves to create a suite of versatile textures, ambiances, pads, basses, leads, impacts and percussion built from the original audio. As with our other libraries, we intended for Resonance to be immediately playable, useful and intuitive.

This library was not designed to be “epic” – though you can certainly use it for that. There are countless sample libraries available that focus on big, loud percussion, or dramatic sounds soaked in reverb. Our vision was instead to capture these amazing found & custom instruments in a more intimate setting; close-miced with a touch of room air (and in great depth, of course!) Inspired by composers like Thomas Newman and Danny Elfman, we hope you will find the wide variety of timbres in Resonance to be as usable as they are inspiring.

Interface

Resonance contains a total of 33 “Natural” patches and 49 “Designed” patches built from 14 distinct instruments or ensembles. Many of the instruments were created by Jim Doble of Elemental Percussion, to whom we are very grateful for his fantastic craftsmanship. Others were more simple found metals, such as sheets, pot lids, a music stand, bolts and snare wires. We played the instruments using our fingers, hands, and of course, various mallets (soft, wood, rubber and metal). We also used a cello bow to evoke very different sustained tones.

The Natural patches include multiple mallet types where applicable, as well as tuned/chromatic vs. natural versions and “FX” patches. These FX patches do not include external processing, but include things like scrapes, impacts, glissandi and various other non-traditional or ‘prepared’ playing techniques. We used a minimum of external processing and editing, instead choosing to leave the natural sound of the instruments untouched aside from minor noise removal and EQ where needed.

The Designed patches are split into six categories: Impacts & FX, Leads & Basses, Tonal Pads, Percussion, Textures & Ambiance, and Keyboards & Mallets. These patches are built on the Natural samples, but in many cases include entirely new audio processed extensively with a variety of tools. We think you’ll find these sounds very useful in any number of styles!