The imaginary line between sound design and music production in terms of process has all but disintegrated in recent years. View a great video demo by the developers below.
#Must have mac music production plugins software
The Weaponzier is the perfect software bridge between the worlds of sound effects and music production offering producers an elegant means to expand their sound palette.
I’ve always believed that many Foley and FX sounds work beautifully in a musical and rhythmic context, and that their spectral richness and inherent rhythmic complexity is underappreciated. Each stage can be triggered independently via MIDI or as a single event. But as the developers point out, this plugin can be used by music producers to create drum sounds using the same well-designed engines.
It terms of sound design for gaming or action films this plugin is an obvious choice. It’s sort of a self-contained four channel DAW intended to create everything from aggressive firepower to crunchy impacts and whizzing projectiles.
Each has an independent effects chain that can include: EQ, Limiter, Saturation, Ring Modulation, Flanger, Transient Shaper and Noise Gate. The Onset, Body and Thump modules all include synth modules that can augment the sample or be used independently, while the Tail engine allows access to a convolution reverb. You can craft a weapon sound asset from the ground up by layering up to four samples from a vast and searchable library for each of the temporal stages of the sound using four engines referred to as: Onset, Body, Thump and Tail. The Weaponizer by Krotos Audio, as the name implies, is the ultimate tool for designing sounds for video games or films where such sounds are needed. This list is by no means exhaustive and I encourage comments and additions. It then follows that using music production tools in “non-musical” or unintended ways could yield exciting and unexpected results as well.īelow is a list of software (in no particular order) that can be used in both musical and so-called sound design contexts. So once you accept all sounds as possible musical content, it’s a natural step to use “sound design” tools in the production process. If I use that same sound as a sort of crunchy snare or layer it beneath a kick for extra bite, I’m a music producer. If I’m designing a sound that simulates the impact of a bullet entering a plank of wood, most people would call that sound design. If there is a distinction, it seems tied to the task at hand, rather than the process itself. Having been in the mindset that any sound can be “musical” for some time, the division between sound designer and composer appears arbitrary at best. Pierre Schaeffer’s concept of musique concrète and John Cage’s music and his essay, The Future of Noise – Credo continued to push the envelope and gave validity to further experimentation. Arguably, it’s been disintegrating since the very idea of using “non-musical” sounds in a musical context was first introduced by Luigi Russolo in his historic manifesto, The Art of Noise (1913).
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