SIMULACRUM is an amazing collection of musical sounds and special effects by composer and sound designer Steven Tunnicliffe. Inspired by the imagery of contemporary science fiction and horror, Simulacrum comprises a diverse assortment of sounds, from long, evolving textures and drones, to aggressive stingers and risers. The hyperreal nature of this material is manifest through allusions to ‘real’ acoustic sources and spaces as well as those entirely fictional. Consequently, the content may be useful in a variety of musical contexts such as dark cinematic film score or techno and electronic dance music. Sound designers may also discover a wealth of inspiration for their next film, television, video game, or web project.
SIMULACRUM has an elegant and easy to use Kontakt interface that will help you create entirely new sounds from the existing samples. Not only are there 6 individual filters, ADSR and LFO there is also easy access to a whole array of effects, including delay, reverb and modulation that will help you sculpt and shape your sounds to perfection.
CONSTRUCTION KITS
The opening section of Simulacrum is organized into 25 construction kits each based around a short composition referred to as a ‘Demo Cue’. While each Demo Cue is relatively brief (usually less than a minute), the user is at liberty to shorten or extend the piece, rearrange its elements, or introduce new material. The user could, for instance, construct an entirely new composition using percussion from Industry March, a drone from Command Center, and special effects from Hot Wire. By affording the user flexibility to mix and match sounds while providing some high-level aesthetic guidance, we hope to maximize the user’s ability to quickly and effectively achieve great sounding and unique results. In the Kontakt Instrument the Demo Cue is mapped over one octave from C1 to C2 while the individual samples that make up the piece are mapped from C3 onward.
ATMOSPHERES, DRONES, TEXTURES
Simulacrum contains 130 textural sounds designed to evoke powerful sonic imagery, from the nightmarish hellscape Thermonuclear to the blissful ethereality of Empyrean. Certain sounds may be best read as soundscapes that articulate particular ‘spaces’: Containment Breach, for instance, might conjure images of a futurist clandestine laboratory in lock-down after the escape of some unknown malevolence. Other textures exhibit perceivable pitches and may, therefore, be more applicable in musical contexts, serving as drones or harmonic pads.
RHYTHMIC LOOPS
Simulacrum contains a variety of rhythmic loops featuring a wide range of acoustic and electronic instruments. The loops range in tempo from 66 to 140 bpm and may be applicable across a broad spectrum of musical styles. While useful alone the loops may also be layered to form complex percussive beds.
SINGLE HIT SOUNDS
Simulacrum has a selection of over 250 individual hits. These include Impacts & Stingers, Ambient & Tonal Hits, Drops & Power Downs, Sci-Fi FX, Horror, Orchestral and Metallic Sounds, Whooshes & Transitions, Swells and Sweeps and much more. The Orchestral Sounds folder, for example, contains drum hits, stingers, and risers ideal for use in high impact film trailers. Other sections, such as FX Sounds and Sci Fi Sounds, might be more useful for sound designers in need of content for video game or web-based graphic interfaces. Combining sounds from different folders can yield complex sound design montages tailorable to the aesthetic needs of the specific project. We encourage the user to experiment to find their favorite unique combinations.
SIMULACRUM has an elegant and easy to use Kontakt interface that will help you create entirely new sounds from the existing samples. Not only are there 6 individual filters, ADSR and LFO there is also easy access to a whole array of effects, including delay, reverb and modulation that will help you sculpt and shape your sounds to perfection.
CONSTRUCTION KITS
The opening section of Simulacrum is organized into 25 construction kits each based around a short composition referred to as a ‘Demo Cue’. While each Demo Cue is relatively brief (usually less than a minute), the user is at liberty to shorten or extend the piece, rearrange its elements, or introduce new material. The user could, for instance, construct an entirely new composition using percussion from Industry March, a drone from Command Center, and special effects from Hot Wire. By affording the user flexibility to mix and match sounds while providing some high-level aesthetic guidance, we hope to maximize the user’s ability to quickly and effectively achieve great sounding and unique results. In the Kontakt Instrument the Demo Cue is mapped over one octave from C1 to C2 while the individual samples that make up the piece are mapped from C3 onward.
ATMOSPHERES, DRONES, TEXTURES
Simulacrum contains 130 textural sounds designed to evoke powerful sonic imagery, from the nightmarish hellscape Thermonuclear to the blissful ethereality of Empyrean. Certain sounds may be best read as soundscapes that articulate particular ‘spaces’: Containment Breach, for instance, might conjure images of a futurist clandestine laboratory in lock-down after the escape of some unknown malevolence. Other textures exhibit perceivable pitches and may, therefore, be more applicable in musical contexts, serving as drones or harmonic pads.
RHYTHMIC LOOPS
Simulacrum contains a variety of rhythmic loops featuring a wide range of acoustic and electronic instruments. The loops range in tempo from 66 to 140 bpm and may be applicable across a broad spectrum of musical styles. While useful alone the loops may also be layered to form complex percussive beds.
SINGLE HIT SOUNDS
Simulacrum has a selection of over 250 individual hits. These include Impacts & Stingers, Ambient & Tonal Hits, Drops & Power Downs, Sci-Fi FX, Horror, Orchestral and Metallic Sounds, Whooshes & Transitions, Swells and Sweeps and much more. The Orchestral Sounds folder, for example, contains drum hits, stingers, and risers ideal for use in high impact film trailers. Other sections, such as FX Sounds and Sci Fi Sounds, might be more useful for sound designers in need of content for video game or web-based graphic interfaces. Combining sounds from different folders can yield complex sound design montages tailorable to the aesthetic needs of the specific project. We encourage the user to experiment to find their favorite unique combinations.
Product Details:
• Over 3.2Gb of 24bit 48 KHZ SAMPLES in both WAV and AIFF format
• Kontakt GUI with easy controls & fully automated MIDI controllers
• Fully equipped FX Rack
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
• Over 3.2Gb of 24bit 48 KHZ SAMPLES in both WAV and AIFF format
• Kontakt GUI with easy controls & fully automated MIDI controllers
• Fully equipped FX Rack
Download Sizes
| Version | Compressed Download Size |
| Kontakt 6/Plug-in/WAV Download includes | |
| Full Pack: 6.14 GB | |
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
License Agreement
The Following End User License Agreement is included with Simulacrum. This License is only valid for the individual who has purchased an unopened, new and lawfully made copy of Simulacrum from a dealer or distributor authorized by Big Fish Audio.
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."