Score Elements

Components for on-the-fly Scoring

Within this module of the Score Elements system, you’ll find a huge amount of Accents, Ambient Beds, Impacts, Transitions and Whooshes. Content delivers a rich spectrum of bright and dark moods such as scary, mysterious, dark, disturbed, fortunate, cheerful, peaceful.

Every sound in the library was developed to create with ease a unique feeling to compel and immerse your intended audience.

Format:

ELASTIK

Genre:

Cinematic, Soundeffects

2.51 GB, 792 Loops and Samples

99.00 €

69.30 €

Add to cart

Loop Library for the free Ueberschall Elastik Player
VST2/3, AU, AAX and Standalone for macOS and Windows

Score Elements

Ueberschall presents the new Score Elements system. It provides the highest possible quality of audio processing and is especially geared toward professional scoring, game sfx, audio logos and flash applications.

Content

Within this module of the Score Elements system, you’ll find a huge amount of Accents, Ambient Beds, Impacts, Transitions and Whooshes. Content delivers a rich spectrum of bright and dark moods such as scary, mysterious, dark, disturbed, fortunate, cheerful, peaceful.

Every sound in the library was developed to create with ease a unique feeling to compel and immerse your intended audience. With the flexible Elastik engine you can easily mix and modify several of the 792 samples and loops at once to create completely new sounds and moods on-the-fly. A wide variety of sounds are provided which appeal to diverse sound applications.

Structure

The over 2.5 GB library is divided into five main folders and several sub folders, to enable fast and target-orientated browsing within the product.

01 - Accents: Hundreds of grab and go ready samples, with various lengths. Here the samples are separated into different mood folders like creepy, disturbing, mysterious, and scary for example.

02 - Ambient Beds: This section is divided into two main mood folders, bright and dark. Within these folders you’ll find a rich spectrum of beds which have a length of up to over 45 seconds. Some of the Beds deliver multiple variations per phrase. Every Bed is full loop able.

03 - Impacts: This part is filled with a huge amount of unique impacts. First of all the samples are divided into three subfolders, with different room sizes—small, medium and big rooms. Additionally the samples are separated into hard low/mid frequencies and soft low/mid frequencies. This ensures that you’ll find the required sample as quickly as possible.

04 - Transitions: The transition sounds are perfect to connect different scenes. They are separated into fast and slow rising transitions.

05 - Whooshes: A vast number of whoosh samples, which are perfect to empower your moving objects, such as logos and animations. The sounds are portioned into short and long. Furthermore they are split into low and midrange frequencies.

Navigation

The given structure and features like labeled mood signature and tempo information, makes it as easy as possible to find a song or groove that will match your tracking needs and goals. Additionally the Elastik Player offers you a lot of DSP functions to adjust the songs to further fit your productions / creations.

Credits

Responsible for this product are Berengar Schmidt and Marc Steinmeier. They have worked for companies like Universal Music, EMI Electrola and Sony/BMG to name a few. They have assisted, produced or remixed for well known artists such as LL Cool J, Alcia Keys, George Clinton, Eminem and others. They gave a lot of productions their break in terms of Sounddesign. This product guarantees a sound that is truly high fidelity.

Genre: Cinematic

Elastik Soundbank for Mac & Win - AU/VST/AAX/RTAS/Standalone

2.51 GB, 792 Cinematic Loops and Samples

SOUNDBANK CONTENT

Electronic FX: 671

Ambience: 121

Thanks to its clear structure the Elastik player is the ideal tool for fast and modern music production using loops. Each loop contains information on tempo and key, so you can quickly find the right sample for your production. The „élastique pro“-algorithm by zplane offers time stretching and pitch shifting in high quality, while the ReTune algorithm lets you change the key and scale of any tonal loop. Endless possibilities to adjust sounds to your own projects.

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REVIEW

The quality of the sounds is throughout the whole library very high and should please even the most dicerning

For musicians who compose music for trailers or who wish to add the necessary power of persuasion to a commercial, Score Elements is an ideal treasure trove.

I suspect media composers and those working on sound design for games will find plenty of useful ammunition here. 4/5

Score Elements

Sound on Sound, January 2011
www.soundonsound.com

"I suspect media composers and those working on sound design for games will find plenty of useful ammunition here. 4/5"

A couple of Ueberschall’s ‘Score’ titles have been reviewed in the pages of Sound On Sound: both Score FX (SOS March 2009) and Score FX II (SOS September 2010) used the Melodyne?powered Liquid Instrument front end to provide a range of construction-kit and sound-design tools that were aimed most obviously at media composers working on TV, film, game or web?media scoring.

Ueberschall have now added Score Elements to this line, but rather than create another ‘Liquid Instrument’, they’ve opted to employ their equally useful Elastik front?end. This lacks the melody-line editing of the Liquid titles, but it provides excellent tempo, pitch and filter options for use with the loop?based content of the library.

The library itself comprises around 2.5GB of sample content, which is spread across approximately 800 loops and sounds. The material is split into five categories: Accents, Ambient Beds, Impacts, Transitions, and the wonderfully named Whooshes. Sub?categories in each main category give an indication of the mood of the content.

The categories are pretty much self?explanatory. The Accents are divided into Dark, Disturbing, Mysterious and Scary sub?categories, and the bulk of these are not accents in the sense of true musical accents (where an individual beat gets emphasised), but short sound?design loops that could easily be blended into a suitable arrangement to change its texture for a bar or two. Again, the labels give a good idea of the moods, although there it’s not always successful: one person’s ‘dark’ may be another person’s ‘disturbing’, for example.

The Ambient Beds provide somewhat longer (30 seconds or more) evolving soundscapes, divided into bright and dark types, and many of these could easily form the basis for a full cue.

The Impacts category offers exactly what you might expect: lots of things being hit, ranging from obvious drum sounds, through metallic sounds and on into industrial/electronic territory. These are divided into big, medium and small rooms, each giving a different level of ambience. There’s some good stuff amongst this lot, with plenty of ways to add a scary hit point in your horror soundtrack.

The final two categories (Transitions and Whooshes) overlap somewhat. There are both shorter and longer sounds here, with whooshes that build to, and fade from, a crescendo. The Transitions are exactly the sorts of sounds you might hear placed between two scenes in an episode of 24, Heroes or Flash Forward: slightly spooky and disorientating.

What’s obviously very different from the two Liquid titles is the lack of construction kits, and the intention seems to be that these ‘elements’ will provide some additional ear-candy to drop into cues created with the Score FX and Score FX II construction kits.

Score Elements does not break radically new sonic ground, and if I were new to all three Ueberschall libraries I’d probably start with Score FX II, but I suspect media composers and those working on sound design for games will find plenty of useful ammunition here. 4/5

John Walden