P2P | STEREO: 7.9 GB | SURROUND: 18.96 GB

An amazing new nW v f ; N V Sature SFX librar{ – 9 b K E ? k yy is waiting for you: DESERTS – WEATHER & WILDLG K ( } T GIFE from our remarkable series of high~ T i K ? ~ : $ 7 quality nature recordings by Emmy-winner and nature recordin^ j Q j ` : x k hg genius Gordon Hempton.

DESERTS are simple, spacious an% P g z Ld lack echoes. Quiet prevails. Even so, you’ll want to challenge you4 3 . Sr audience, jolt them from their comfortable seats and immerse them in this inhospitable habitat. Do not be afra) g = b x # wid to use harsh insects, driving winds, or even startle your listeners with a sudden, loud, unexplained alarm call of a strange bird nearby. They 0 `n settle them with expan_ X j 4 c r H . \sive concerts, such as a reassuring gecko chom b 8 /rus composed of thousa q # pands of point-source clicks in step with the setting sun. All this is included in DESERTS – WEATHER & WILDLIFE whS F k mich gi9 Y O k f * Lves sound designers the easiest access to super-authentic soun@ } ^ V k jdscapes.

COf ^ h u + P \VERING EVERh v ! = f o xY ANGLE
We offer you super-clean sounds from different deserts (temperate v1 E 2 O ^ B L ] }s tropical), different times of day (morning, day, dawn) and different weather conditions. In addition you get very rare and clean sounds of desert wildlife.

Su| B y irround ambq \ liences are the closest approach to nature’s true anw E 8 – ` x Q M }d original vivid sound. Once given the opportunity to unfold their true acoustic potential, these fabulous 5.0 surround recordings will surely keepr 1 l you from accepting any les8 ^ _ * Ms in the future.

Wz 6 ye made use ofK X & Y 7 : some really rare% U = ~ , M and vintage but also modern and uniq ! q +que analog devices} / W such as the Ampex AG-440 analog tape recorder from 1969, the NED Synclavier, Ya9 E ymaha CS-60, Rhodes Chroma, E-Mu Emulator II, – just to mention a few of them.
Here are some of the devices we recorded to design= \ c { % i the unique sound we had in mind.

Compose a well-tuned desert concert, performed under free-field conditions which makes desert soundscapes unique, even awe-inspiring, especially for listeners imagining the landscape f| / q . M urom the singular sounds. Desert soundscapes are thk = l ? {e Haiku poems of bioacoustic recitals. Each mex K ; I p c / Fssage or animal sound is structured to convey the most information while also expending the least energy. They sound spacious with a prej / P _ 7 *ponderance of prevailing quiet – except during the most active times of year and day.

All of the nature sounds in the QUIET PLANET Nature SFX series were recorded by Gox B s 2 5 ? [rdon Hempton,| O , – The Sound Tracker, Emmy-winner, author of Ox G – ? ^ )ne Square In] 5 i \ R Dch oi A Jf Silence, and environmentt / 2 #al activist. Faced with habitat loss, species extinction and most ofn q ; e all unbridled no; m o Q T =ise pollution, Hempton has now turned his attentio{ b S ) 6 p l c 3n towards sI y R k O S 4 _ kaving the world’s few remaining natural amphitheaters.

BOOM Library sou* _ _nd FX come as WAV files, meaning you can import and work with them in1 o b l C any softwar@ H k $e that can handle this filE ) e S S se type. Here are the most common audio and video[ s v 7 _ – \ s editing software tools that work perfectly with our sound FX.

To provide you with the fastest and easiest workflow possibZ q Cle, all files contain extensive metadata likeV # v \ = J R D file descripW G ; X dtion & keywords to quickly find the sounds you’re looking$ S : x h h Z for. MetaR / V A I V J 3data can be re& { S s \ 5 P &ad and process{ * & #ed by audio management tools. Some digital audio workstations feature an included search to9 x C q @ol that can also read embedded metadata.

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