Sound design is about listening. It’s not about what you create, but the things you leave out.
The Unfinished is me, composer and sound designer, Matt Bowdler.
I have been creating cutting edge, cinematic sound design for only a relatively short time, but my sounds are regularly used on Hollywood movies, AAA game scores and hit TV shows around the globe.
I have collaborated with the likes of Trevor Morris, Jason Graves, Sascha Dikicyan, Michael Price, Sheridan Tongue and Paul Haslinger.
And I’ve also created original synth programming and sound design for audio developers such as u-he, Spectrasonics, Spitfire Audio, Wide Blue Sound and Access synths.
Each time I download the latest collection from The Unfinished and start scrolling through the sounds I feel like a kid on Christmas morning unwrapping presents. Beautiful, dark, ethereal, angry, lush, intense and much more in every set. I’m a fan.
The Unfinished sound additions are unique and inspiring. The sounds are exceptionally crafted and are easily implemented in any project. The Unfinished packs are extremely applicable for scoring all types of media and I highly suggest adding them to your sound library.
As a regular user of Omnisphere, Zebra and the NI products I’m constantly amazed at how often Matt is able to produce such brilliant patches for the synths I love. He seems to breathe life into my plugins every month in a way that no one else can. Keep up the awesome work. I can’t wait for the next release.
Matt’s ‘The Unfinished’ series is simply spectacular. Cinematic and evocative are words that come to mind. Need some inspiration? Just load a patch and follow your heart. Bold and nuanced at the same time, ‘The Unfinished’ is a wonderful resource for any composer!
Whatever magic potions you’re brewing over there, keep it up! I can’t thank you enough for making it so easy to find those polished, simple sounds that “just fit” – only a few tweaks and I can call them my own.
I have been using Matt’s talents for a few years now, including on my just released Doomsday artist record. He never fails to amaze me how a single person can create so many presets that are never boring or cheap sounding. They inspire you to write the best music possible. Thanks Matt!
A LIFE OF SOUND DESIGN
The best thing about being a sound designer (and a composer) is that 75% of the job is listening. Listening to music, listening to people tell their stories, listening to the environment you’re in. Listening to the space in between sounds.
Being a good sound designer is not about what you make, it’s about what you leave out. Honesty, integrity, not taking short cuts. What you choose to delete, what you feel isn’t good enough, is what shapes you.
You’ve also got to enjoy it. Your pleasure in programming a synth or manipulating audio comes through in your ideas. That is why I only create sounds I would 100% use in my own projects. If it doesn’t enthuse me, how can I expect it to grab anybody else’s attention?
I love sound. Music has been with me since I was very young. My dad would listen to Mahler, my brother would listen to Ultravox. It’s all in there somewhere. But I was always interested in the sound of storytelling. Films, television, radio… the interplay between music and the natural environment, how specific syllable sounds could make dialogue more tragic, more humorous. And I’ve always enjoyed design: the aesthetic of ideas. Sound isn’t just about what you hear, but what you see, taste and feel.
Sound is a journey. It can evoke in you emotions and memories you had forgotten, or merely misplaced. It can take you to a specific moment in time. It can take you to places you’ve never been.
The wind in the trees, my baby daughter’s laughter, a heavily detuned saw wave… I just listen. Breathe it in. Engage the senses. And pass it on.