Transform
Sound Pack
What is TRANSFORM?
TRANSFORM is an extensive collection of field recordings, sound effects and designed sounds developed by sound designer Jean-Edouard Miclot (a.k.a. JEDSOUND). Bundled with sample mappings for many popular formats, TRANSFORM’s painstakingly recorded and processed sounds will find their home in the arsenals of sound designers, editors and music producers alike.
TRANSFORM features over 1.6 Gigabytes of 24-bit / 96 kHz audio, all meticulously embedded with enriched metadata and processed using a plethora of sound design tools, such as Symbolic Sound’s Kyma. Whether you’re a sound designer needing a massive Hollywood impact, an editor looking for a radio stinger or a musician wanting to add some ice crunch to a snare...or bass wobbles made from a processed moose, TRANSFORM has something for you.
About JEDSOUND
Jean-Edouard Miclot is a French sound designer living and working in Vancouver, Canada. He has worked with Stuart Wilson, Steve Bigras, Zak Belica, Brad Hillman and Samuel Lehmer. Jean-Edouard is currently a sound designer at Ubisoft.
Please visit his blog to stay up-to-date with his work and techniques.
Content Overview
Over 1.64 gigabytes of field recordings, sound effects and designed sounds
24-bit / 96 kHz WAV audio embedded with enriched metadata
Tagged for Native Instruments MASCHINE
The sample content is conveniently organized into sub folders based on the types of sounds:
Bass: This category contains any kind of low pitch or tonal materials. It could be an elastic stretched out, a vocalization pitched down, a low hum picked up from a transformer, a sub speaker rattling a file cabinet, a moose moan, a mouth gurgling water etc. anything that has a main frequency component perceived under 200 Hz and that could be used as layers to support other mid-range sounds.
Composites: Layered composite sounds created from the Bass, FX and Impact categories from the library.
Crunch: These sounds are props or natural elements that produce loud transients like wood, metal, ice or plastic and glass stress. These natural transients were amplified to give a bigger and sharper edge and not necessarily sound like what they originally come from. Be aware these sounds are way louder than the others.
Eerie: Long sounds recorded in a large acoustic space or processed in order to recreate an abstract tonal atmosphere. It could be props clinked in a garage, a door squeaking in the washroom, a long slinky/spring bowed and recorded with contact mics, a wine glass scrubbed underwater and recorded in a bath tub with an hydrophone, a large metal sheet mangled like thunder or any spectral processing done with Kyma, Metasynth and the Michael Norris plugin suite that gave musical and emotional qualities.
Impact: As the word says, anything that smashes, slams and hits hard. Most of them come from objects that we see everyday like doors, latches, cabinets, drawers, washing machines, fridges, jackhammers etc. Because the nature of something that hits really hard sounds unusually noisy due to the addition of harmonics, those impacts were actually performed pretty softly and have been later aggressively compressed to reinforce their dramatic energy.
Mechanical: These are made of various metal objects that get locked, unlocked, pushed, cranked and hit in order to give a sense of mechanics and build-up.
Micro Sources: Micro sounds are little fragments of waveform, chopped up from raw recordings so that they can be randomly rearranged to recreate new performances. Listen to the "Micros" folder in the main sample content folder for a few examples of what can be done using these short sound fragments.
Micros: These are very short samples (close to one wave cycles) extracted from natural sonic waveforms and supposed to be randomly played back at a controlled BPM (Beat Per Minute) in order to recreate new textures. They're made of springs, neodymium magnet buzzes, wood stumps, door creaks, mouth noises etc. Please see the "Micro Sources" content folder to get access to the source files used to create these Micros so you can try to experiment on your own.
Organic: These sounds are supposed to come from the world we know but not necessarily from places we expect them to come from. Some tire skids could be just a plastic headset rubbed on a wooden table, a bird call is made by blowing on the edge of a sheet of paper, a muddy footstep is made by a plunger pushing hair gel, a subway squeal is a shovel pressing a block of dry ice, a cobra snake hiss is a garden hose spraying water, a frog croak is a finger rubbing a shot glass, the glass of a water tank cracking is just made by bending a plastic CD case etc.
Richard Devine's Transform Kit: These are sounds that Richard Devine created using the Transform sound pack. He threw in some extras for good measure. Enjoy!
SFX: This category represents sounds that don't belong to the reality of our world. However, they could come from DC motors, drills, a Kazoo, vocalizations, kitchen appliances, engines, small motors etc. They were all processed to help to express feelings like threat, anger, happiness, silliness, rage, surprise etc. without necessarily showing what the source of the original sound actually was.
Transform Layered Kit: These layered kits are meant to show you what is possible by simply taking the content from this pack and layering it together. We highly recommend you try making your own layered kits with this sample pack and adding fx.
Whoosh: These sounds are composite and made of several different tonal layers going through a treatment in Kyma and finally performed with a doppler effect to express velocity and movements.
How do I set it up and where do I put things?
If you just plan on using the .WAV audio samples, you can put things wherever you like on your hard drive. Please note that all the samples are 96 kHz and your host software should be set accordingly. If it sounds like the samples are playing back the wrong speed, that’s probably because your host software can’t automatically playback the samples at the correct sample rate. If you’d like to work at a lower sample rate, you may need to first convert the files.
That said, most modern samplers will allow you to use the 96 kHz content in a 44.1 kHz session without issue. If you hear things sound like they are tuned down or playing at the wrong speed, chances are you have a sample rate issue that needs to be addressed.
System Requirements
Approx. 2.09 GB of disc space.
At least 1 gig of RAM for most sampler instruments.
Internet connection for product download.
Any PC or MAC program that can read 24-bit / 96 kHz WAV files.
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