Take a look. I reveal some secrets and some really obvious, boring facts! Haha.

The Audio Spotlight – The Unfinished Interview

I have created 30 bonus multi patches. They include stacked pads/textures, stacked arps/rhythms and also collections of 8 patches that work well together as a ‘jumping off’ point for a new cue/track.

Some of these collections are based on the demo tracks you can hear on the Horizon II product page, the rest are original multis I have designed.

You should have received an email with a download link, so please double check your spam folders just in case. And enjoy!

At the end of last year, the hugely talented Trevor Morris (The Borgias, The Tudors, Immortals) contacted me and asked me if I would be interested in being part of his sound design team for an upcoming film score he was working on. Naturally, after a few minutes of beaming from ear to ear, I emailed back saying I’d be delighted to.

Working remotely from London, I spent the next few weeks putting together some dramatic and atmospheric sounds suitable for a hybrid orchestral score, whilst Trevor bounced back comments and ideas. In the end, there were about 200 sounds produced, for both Omnisphere and Massive – of which, I suspect only a handful actually made it into the final score.

Sadly, I didn’t get my name on the final credits, though I know Trevor tried hard to get me included. Bit of a shame, as I’d have dug seeing my name alongside such talents as Mel Wesson and Steve Tavaglione. It will spur me on for future projects!

I highly recommend going to see Olympus Has Fallen. Gerard Butler, Aaron Eckhart and Morgan Freeman are all terrific. It’s a bit more brutal than I was expecting, and all the better for that – like a much more visceral Die Hard film.

Oh, and there’s a rather brilliant score by Trevor Morris, of course! A big thank you to him for allowing me to be a small part of it. And thanks to Alex Pfeffer for his help too.

Horizon II is a collection of 128 patches for Spectrasonics’ Omnisphere aimed at electronic film scoring and atmospheric electronica. Deep, punchy basslines; pulsing, thrilling synth sequences; evolving, driving percussion loops; lush, detailed pads and soundscapes; plus growling basses, emotional pianos and epic impacts.

After the dark, nature of Horizon, the sequel has more ‘light’ patches in the vein of Cliff Martinez and Thomas Newman – as requested by users of Horizon. But, rest assured, there is still an abundance of gritty sounds perfect for modern underscore.

Omnisphere Horizon II is available to purchase for £19.99. You can also download a demo pack of 15 sounds to ‘try before you buy’.

Check out the walkthrough video to hear some of the sounds…

… or listen to some stellar demo tracks.

Enjoy!

This collection is all about rhythm and darkness. It’s full of biting basslines and synth sequences, monstrous basses and bass drops, and kinetic pads and soundscapes.

If you’re looking for gritty synth sounds with a cinematic and industrial edge, you’ve come to the right place. It’s influences range from the hard-hitting modern sci-fi of the new Total Recall and Judge Dredd films, to the disturbing sonic landscapes of Trent Reznor and Atticus Ross.

It’s noisy. It’s dynamic. It’s inspiring.

Available now for £19.99 (existing Darkscore series purchasers look out for an email with a discount reward code). You can also ‘try before you buy’ with a free download of a few patches to give you a taste of Darkscore IV.

Below is a walkthrough video, showing you a few of the sounds in action, plus a collection of fantastic demo tracks by some very talented composers.

So, with all that in mind, here is a new small pack of samples and loops – KTH Sample Pack. They all come from a project I recently worked on, a demo track for Impact Soundworks’ new Dombra library – you can read more about the track on my music site www.mattbowdler.com. The 40 samples are mainly percussion loops, plus a few synth lines and reverse sfx. The samples come in 24 bit 4k WAV format and the tempo-specific loops are at 150bpm.

Take a listen to some of those samples in action in Kazakh Train Heist below.

You are probably now thinking “How do I get these samples then, Mr Unfinished?” You can grab them from my Facebook music page. I am afraid you do need to ‘like’ the page to be able to access the sample pack.

If you’re not on Facebook, do not panic, I will be giving away more content throughout the year that will be directly accessible on this site. I just like to occasionally give away things on my Facebook page as a thank you to those who follow and support me there. However, it’s worth it, as my Facebook page is a good place to find out the latest on what I’m working on and hear preview snippets and get exclusive free stuff!

There are 128 patches, featuring deep, modulating basslines; evocative and dynamic synth sequences; dramatic and blissful soundscapes; hard-hitting, punchy synth basses; and many other expressive and essential sounds.

Omnisphere Horizon provides you with a deep and flexible, cinematic sound canvas. Whether you’re writing minimalist underscore in the shadow of Harry Gregson-Williams and Sean Callery, or intense electronica in the vein of BT and Jon Hopkins, you are bound to find a huge amount of inspiration in this soundset.

Omnisphere Horizon is available for £19.99 and you can download a small pack of free sounds to ‘try before you buy’.

Check out the Omnisphere Horizon demo tracks below, or enjoy the walkthrough video that highlights many of the individual sounds available.

Dan has been working on the library for nearly two years and has kept me entertained with the occasional snippet of sound design over that period. Some of the things he’s done to the poor cello he has would turn most cellist’s hair white!

As the project finally reached conclusion, he asked me to take some of the raw samples bundled in Project Alpha and create some presets with them. Which I did, and really enjoyed. So, amongst all the wonderful presets he and his co-conspirator Aaron Frensley created are some synth arps, percussion sequences and bass tones from yours truly.

Below is a demo track I wrote for the library’s release, which features a number of my own presets. So vain!

All those tasty nu skool breaks can be yours!

I have in fact been slaving away in “the bunker” – don’t know why I’ve called it that, my studio is in fact on the top floor. Ever since Christmas I have been working hard designing synth sounds for a renowned composer, who is working on an exciting feature film. Working exclusively in Massive and Omnisphere, I’ve been putting together lots of cool driving synth sequences and atmospheric pads inspired by the work of Harry Gregson-Williams. It is much fun.

Having worked so much in Omnisphere means I am hankering to produce my first soundset for it. I am hoping to have it completed by the end of the month, so watch this space.

I am also currently working on a soundscapes library for Kontakt. All the samples have been recorded (and there’s LOTS of them!) and the GUI has been designed. The Kontakt scripting is now being done, in conjunction with the marvellous Mario Kruselj. Hopefully it will all be wrapped very soon.

There are more synth soundsets and sample libraries in the pipeline. Plus the very exciting, but as yet secret, project that kicked off last year and should hopefully be released in the next few months. Trust me, you’re going to love it!

Right, back to the studio… no rest for the wicked.