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An early VCA based compressor, considered by many to be among the best of its type for drums, bass, vocals, and more. It's not without its detractors, with some considering it to be a simple one trick pony, mainly due to the original hardware's lack of adjustable attack and release controls. The Nebula programs I've made here do have added attack and release controls, making it much more flexible. By default the programs load on settings that represent the hardware closest. From there you can adjust the controls and get different behaviors that weren't possible with the original hardware, while retaining the rest of the original characteristics that got the original labeled a character piece.

The Basso Profondo represents the deepest and darkest voice in the human vocal range. Revered in church choirs and operatic roles like Baron Ochs in Der Rosenkavalier, this register captivates with its resonant timbre, capable of rattling foundations while also delivering an ethereal, haunting quality that ranges from enchanting to eerie. The foreboding deep bass dives into dramatic dimensions that few other voices can reach, embodying the mysterious and the earthy. Originating from the recording sessions for the choir-heavy “The Rings of Power” scoring sessions at Synchron Stage Vienna, this library of massive voices is ready to take your project to new depths of expression.

Add Tension & Suspense to Trailers and Scores with Abstract Sound Design SONIKSCAPE is a versatile sound library for many different uses, from commercials and documentaries to Tv or film scores, movie trailers and nail-biting scene setters for moments of tension and suspense, abstract sound design for science fiction and drama.

Ryan Tedder and Amy Allen join forces to explore the creative process behind Tate McRae’s smash hit ‘greedy’. Level up your songwriting skills and discover signature beatmaking techniques from two of the world’s best.

Deconstruct the sonics behind one of Atlanta’s most talented rap exports. Leslie Brathwaite breaks down the mix of ‘Glory’ from JID’s Grammy-nominated album ‘God Does Like Ugly’, demonstrating how he tackles fast-flowing vocals, heavy low-end, and bombastic beat switches.

Give your videos a cinematic punch with the SFX Origin Pack, featuring over 250 high-quality sound effects designed to elevate your storytelling. Instantly add depth, emotion, and professional sound design to every project.

hi all, back again for another masterclass walkthru :) this one covers how i wrote the initial concept for part of me, the sound design, and details on the final mixing/mastering.

this video is about making Serum come to life through using modulators a lot of people sleep on. we emulate the analog pitch drift, but take it to an extreme and apply it to various parts of Serum to create really interesting sonic texture and results.

The best Acid Loops you can find online. Acid is one of the most renowned sounds in Techno, and we made sure to create a pack that encapsulates that analog & warm drive of Acid Sequences. Contains MIDI, Dry & Wet variations, so you can blend them to your own taste.

my biggest workflow tips are too much for one video but i'll say a few things that help me on this same path set realistic goals and deadlines for yourself. for me, one solid "near final" demo thats roughly mixed per week is a normal goal while maintaining 9-5 and a laughably small social life

I've answered this one before but someone asked about doing the "fluttery" leads in my more melodic stuff. Here's how I use granular synths :)

programming, sound selection, processing, and mixing of your drums my starting point is identifying what the best groove is going to be for the record. i'll usually start a project with basic drum loops and idenfity what the right "groove" is for the record

Based on MLC412/93 Silenoz Signature Cab Based on this beautiful modern cab from the MLC brand, created to match the MLC S_ZERO93, we replaced the stock VETERAN 30s to add something even more brutal, using LCFR150, KARNIVORE, GRAY WOLF, and MAMZER 30 speakers to deliver an aggressive, brutal sound perfect for Black Metal.

another Q in a previous comment on mixing kick/bass and how i approach it i don't compress or process the kick/bass together, i prefer to just have well chosen elements, and i like to manipulate them to get along. i use kick2 for control, samples are fine but i preference going the"hard" route in exchange for more control. more control also means more room for error, though.

5 parts, over an hour and a half of footage coming. this part is on drop patterns and how i sequence sounds to create interesting drops that are the perfect balance between repetition and interest.