Sound Dust Saxomaphonium is a hybrid Kontakt instrument hewn from layers of baritone and alto sax plus two ancient wind-powered reed organs. It takes un-cool elements, records them nicely and then re-imagines them into something entirely new.
With a deep but manageable Kontakt engine, the Saxomaphonium creates a new reed/metal/wood-based palette that can cover a surprisingly wide range of stunning possibilities.
- Looped baritone and alto long notes
- Tape treated, looped baritone and alto long notes
- Honking goose sax staccato
- BPM synced looping harmonium hand-pumped notes
- Deep wheezy foot pumped room organ
- Saxophone x 2 - 4 octaves of baritone and alto saxophone long looped notes - 6 velocity layers.
- Tape Saxophone - 4 octaves of baritone and alto saxophone long looped notes - brutalised through Roland Chorus Echo RE501 for lots of wow and flutter - 6 velocity layers.
- Honk - 4 octaves of baritone and alto saxophone staccato notes - 5 velocity layers.
- Harmonium - binaurally recorded portable harmonium with looped BPM synced bellows pumping.
- Pump Organ - binaurally recorded church style pump organ.
- 1140 24bit samples = 2.46GB with Native Instruments propriety compression
- Note Jitter - randomises note on/off timing, velocity values and tuning between articulations
- Chord and Key quantise - selectable to fix scale and chord type across all keys
- Sample start and loop length control per articulation
- All controls fully automatable
- BPM synced pan and volume modulation per articulation
- BPM synced vibrato and chorus per articulation
- 24 custom convolution reverbs per articulation
- 4 insert effects - dirt, eq, rotor, phaser and master algorithmic reverb
- 2 send effects - delay and algorithmic reverb
- Keyboard Velocity and Round Robin modelling page
- 55 instrument snapshots
- Handy build in instructions in RTFM page
We catch up with Sound Dust aka Pendle Poucher
We talk to Pendle Poucher, a Brighton UK based composer, sound designer and lover of funny noises and the man behind the unique, and often crazy, instruments produced under the brand Sound Dust.
Pendle has written, produced and performed soundtracks for every major UK TV station and many more all over the world. He worked for 10 years as sound designer and composer for award-winning theatre company DreamThinkSpeak devising amongst others a 32 channel soundtrack for their radical reworking of Hamlet "The Rest is Silence" in 2012.
To celebrate his latest release of Saxomaphonium for Native Instruments Kontakt, we caught up with Pendle to find out more about what he's been up to more recently...
Just prior to the release of Saxomaphonium, you unleashed Loop Pool: Boom & Bust (which we love by the way) which is part of a new series, can you tell us what the Loop Pool series is about?
Loop Pool is a kind of repository for ideas that can't be made into keyboard-based instruments. It can make 500 or so BPM synced loops instantly accessible and endlessly playable. I'm not entirely sure what's next, but experiments are underway for two new 'pools' and both are sounding pretty exciting.
Which are your personal favourite Sound Dust releases since we last spoke and why?
It's very tricky to say, they are all my babies and I love them. But we go through a very intense relationship at birth and get a bit sick of each other and then need a little space. I'm often surprised when I revisit them for my own projects. A. Because they sound pretty good and B. Because they could be better.
Have you ever released a pack where you've been completely bowled over/surprised by the response and if so, which one/s?
The Infundibulum series has definitely captured the imagination of a lot of people - which is nice to see.
You released a pack some time ago for Omnisphere 2 – 'Untopia' – are there any plans for more Omni expansions?
Oh yes indeed - I usually try and work on an Omni set over the Christmas period but I got a bit sidetracked by Loop Pool this year.
Unfortunately, his agent won't allow it.
We know that you're a busy composer amongst other things and that SoundDust isn't your only focus so what else have you been up to in the past year?
There have been a couple of amazing collaborations with artist Lindsay Seers. She makes an extraordinary film/installation/sound pieces that show all over the world. This year we did Care(less) which was a virtual reality piece that made me cry at its opening. There was also Every Thought There Ever Was - a piece for robot arms and film with a surround soundtrack and a binaural headphone soundtrack.
Can you tell us about some of the software that you've been enjoying using recently for your own composing work?
Soothe 2 is amazingly useful for just making your track sound better and has a good variety to it.
Equally, have you got any new bits of hardware or instruments that you're excited about?
I do. I have a love-hate relationship with hardware (and software). It's always exciting to get something new, something that will change everything. But then when the thrill has worn off and something newer has taken its place it starts to make you feel dirty. I'm a bit of a hoarder so I've got lots of stuff making me feel very dirty.