In our first blog post, we talked about some of the high-level concepts involved in making a single sound for a library like our upcoming Cinematic Synthetic Drums Pro. Now, we’d like to give you an introduction to some of the very talented and creative sound designers involved in crafting this behemoth.
Jordan’s talent for creating fantastic sonic worlds is evident in the high praise for titles like Super Meat Boy, Donkey Kong Country Returns, Hotline Miami, The Binding of Isaac, Jamestown, Wind-Up Knight, and 20+ other film & game credits. An experienced sound designer, foley artist, and sound mixer (among other things), Jordan brings his skill and passion to the table and has already designed over 60 sounds for Juggernaut, primarily trailer-inspired FX such as impacts, slams, reverses, sweeps and textures.
Of his work on CSD Pro, Jordan notes: “I’m finding inspiration from watching trailers and films with unique synthesized elements, such as Skyfall, Iron Man, After Earth, and Oblivion. For sound sources I’ve been using my recording arsenal along with NI Absynth, Skanner, Razor, Reaktor 5, u-he Uhbik, Izotope Alloy, and the Massey L2007 limiter.”
With recent trailer credits like The Dark Knight Rises, True Blood, Last Resort, Top Gear, Castle, Scandal, and Greys Anatomy to name just a few, Erik is a master of emotionally-charged, high-impact music & sound. His diverse, epic compositions blend acoustic, vocal, and synthetic elements to great effect. As a longtime user of Impact Soundworks libraries like Shreddage, we were very happy to have Erik contribute custom, unique synthetic sounds to CSD Pro.
We asked Erik about his sound design process for the library: “When designing my sounds I aimed for an organic modulated approach. All filter sweeps and motion was done by manually turning knobs and faders on the gear! The signal chain consisted of an Arturia Minibrute going into an EHX Flangerhoax and Boss GT10, then patched into my Engle Gigmaster 15 for that sweet tube overdrive. Coming out of the ENGL’s FX send the signal went through the Ibanez FL9 Flanger, Hardwire SP-7 Phaser, MXR Analog Chorus, EHX MicroQ-Tron and EHX Memory Man analog delay.
From the pedal board, the sound passed through an Eventide SPACE with custom room patch for stereo depth, then from there into a stereo pair of Golden Age COMP-54s (Neve 2254 clone) for some sweetening, especially in the bass and highs, that these compressors do so well. The final stop in the chain is my MOTU 4pre interface. No plug-ins or automation… all manual, analog signal processing!”
Another longtime user of ISW libraries, Mick is an incredibly in-demand composer and sound designer, well-known for his cutting-edge electronic and hybrid scoring work in particular. His vast list of credits include such games and trailers as Need for Speed: The Run, Shift 2: Unleashed, The Last Airbender, Dead Space 3, Medal of Honor: Warfighter, Crysis 3, F.3.A.R and many, many others. We loved with Mick’s contributions to the original Cinematic Synthetic Drums library and jumped at the opportunity to work with him again on CSD Pro. (Plus, we love his Australian accent!)
As lead designer and producer of CSD Pro, Andrew is responsible for a large portion of the library’s content, as well as supervising the collaboration between everyone involved. In addition to his design, editing and scripting work at ISW, he is also an award-winning electronic artist (‘zircon’) and media composer with credits for companies like Bandai Namco (Soulcalibur V), FOX (Touch), NBC (Heroes), Disney, LucasArts, Capcom, MTV, and many others. Inquiring synthesists can find on Andrew’s website a variety of synthesis tutorials for plugins like Zebra 2.