production music library
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An eerie, percussive look into the machinations of a loud factory-like environment. Trash cans, metal pipes and various percussion start at low tension - and then, by :19, the machines are working full-blast. Various dips in the tension help you find edit points (@:47, for example). A musical interpretation of what it was like in Kathie Lee's sweatshop.
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Laced with liquidy, evil sound design elements, light percussion provides a bed for dark, mysterious synth beds. Big sweeping hits @:30 and :54. it's perfect for occult or mysterious pieces - not to mention human sacrifices.
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A distressingly deep drone, cowardly craven congas, and tauntingly tense triangle set the stage for an almost amazingly alliterative agglomeration of aural accents. Imagine 100 Kerry Strugs chasing you to the vault under the vengeful gaze of an evil Bela Karolyi.
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Starts spare and foreboding with a giant lone drum and beating an air-conditioning duct. Immense processed guitar and even bigger drums come in @:09. Stays huge-sounding and threatening through :30, which is preceded by a fantastic fill. Reminds us of a mammoth mechanical leviathan destroying all in its path. Or Charo. We can't decide.
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Cacophonous. You're trapped in the engine room of a sunken ship, and you're trying to let someone know you're not dead yet. Featuring a drum kit of unlikely metal objects, including pipes, garbage cans, pots, and an artificial hip. Climaxes @:29 and :48. Washed-out synth drones add a touch of terror. The rhythm spells 'SOS' in Morse code, if you care.
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Potent toms, powerful congas, agitated triangle and other distraught drums create serious tension. Damaging hits and contorted washes raise the level even higher. Disfigured voices enter the background @:35, :55 and 1:11. When you've got a big problem that just won't go away.
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This sounds like a LOT of police drama themes. Heavily processed toms, electronic percussion and synths are guaranteed to make a tense situation. Takes a donut break @:30, but then really starts threatening your bladder control @ :44. Hey - let's be careful out there.
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Disquieting pads, deliberately-paced percussion and processed cymbal sweeps. You're barely awake at dawn reeling from events the night before. Low bass drone comes in @:14. Unsettling and cinematic.
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This weird, repetitive and decidedly spooky cut features the hiss of a record, a backwards drum loop, an incredibly indecisive piano player and an evil cello. Puts you alone on a dark, cobblestoned street, with the unmistakable feeling you're being followed by Tito Puente's mother. Guaranteed to give everyone the creeps.
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A steady, heart-beat-like, almost hypnotic rhythm, this combination of Brazilian percussion, metal sounds and ever-so-disturbing waterphone screeches creates an almost frantic atmosphere that is pretty darn tense.
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A suspenseful shaker and snare pattern builds up until :14, where a drum loop comes in and everything explodes into a hip, slightly dark investigative mood. Taking a brief pause @:24, only to explode again @:30. @:45, the piece starts over again. Perfect for hard news and tough investigations.
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Indian percussion, clay udus, various bells and a zither-like instrument transport you to a dark, mysterious land where people burn incense to keep away evil spirits and are healed by mystics (but not California). Got a story about herbal healing? Crystals? Jerry Brown? THIS is your music.
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The same, only, well, with no drums. For a more mystical, organic feel.
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A swirling, constant rhythm of phased and delayed drums that is the sonic equivalent of an all-opium lunch. @:42 starts to build up to a big finish @:49. Slightly tense, this piece could be used for drug-related stories and any weird situation du jour.
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How would live percussion recorded through a distorted guitar amp sound? Like crap. But really cool crap. Edgy, driving, and bed-like with weird sound design floating around randomly. The sound of technology running into the primitive nature of man. Ending disintegrates like a cheap pair of counterfeit Levi's.
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Fast-paced, percussion-fest which features a slapped bass and every percussion instrument we own. Perhaps the most hit-laden piece of promo music ever, this selection constantly moves, giving the impression of a frantic pursuit or the all-you-can-eat buffet at Bob's Big Boy.
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An uptempo percussion piece that is the aural equivalent of a chase scene, with things constantly happening. A regular cornucopia of hits and edit points - with a slight middle eastern feel. Just when things calm down a bit @1:03, builds up to a climax again @1:40. (Fact: performed using various things we found lying around the office, including a water bottle, scissors, and a photo of oft-forgotten President Grover Cleveland.)
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Deep Daiko drums, scraped sheet metal, and swirling congas pound out a serious warning to all trespassers. Rises in intensity @:19 and :42. Great slightly ominous bed.
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Newsy and global. Big tympanis, percolating balafon, and of course, a big ol' snare drum. Great moderately negative underscore. Useful for Gulf War Syndrome, traitors to the Flag, and politics.
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A fast, Middle-Eastern-tinged groove brings you right back to an escape from some ol' Turkish Prison. A catchy melody (provided by an unidentifiable middle eastern stringed instrument) intertwines with heavy drums, scraped springs, and plenty of drum breaks. @:46, the beat gets even more pronounced and the tension grows.
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A groovin' heavy bass, bongos and congas that take well-placed pauses for dramatic hits @:09, :19 and :29. Definitely gives the feeling that action is going on and that the bad guys are getting nervous. Good for consumer investigations and cop shows from the 70's.
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Winner of the 'Weirdest Piece on the Disc' award. A simple berimbau figure repeats over spooky talking drums and synth drones while various percussion-generated moans and squeaks litter the sonic landscape like so much styrofoam. A feeling of eerie isolation reinforced by random delayed piano notes that help provide hits and edit points.
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Moody, disturbing multi-layered ambiance with an air of the supernatural. Twisted whistling in @:09 with assorted distorted noises and hits all over.
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A slow, mysterious, almost mechanical track featuring rhythmic distorted breathing sounds, subtle synth pads and a couple of drum loops. Gives the impression of time passing excruciatingly slowly while you're in a dark factory with a heavy smoker.
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Something weird is going on. Drums, shakers and a hyperactive xylophone player @:24 push this piece off-balance and keep it there. Tons of hits and breaks litter the piece just to keep it interesting. Good for light investigations and stories that need that quirky, humorous edge.
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Problems with the military? Post-traumatic stress syndrome? Eerie synths and a steady, military snare pattern put you back on the beaches of Normandy, the Jungles of Asia - or Filene's Basement during a white sale. Very repetitious with interspersed sound design-y explosions and hits make this the perfect bed for all serious military investigations or war pieces.
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Heavily reverbed police/fire sirens combined with shakers, a simple bass line and an upbeat tempo. @:29 the beat stops briefly, but then comes right back in @:36. Slightly positive - but also slightly tense. What else can we say about a song whose featured instrument is a siren?
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Authentic East Indian instruments and rhythms slowly build in intensity - and weirdness - climaxing @:30. Then @:35 the piece takes a different turn, when the haunting voice of a chanting East Indian woman floats around a more contemporary East Indian beat. Good for mystical or even Middle-Eastern tinged pieces.
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Very ethereal with a touch of eerie thrown in, this conglomeration of a 70's dance loop, metal percussion, mouth harp and waterphone squeaks can be quite unsettling. Reversed cymbals and gongs provide hits at all the right places.
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Uptempo, slightly action-oriented/suspenseful, this piece features a slapped bass and a collection of tension-inducing percussion, like shakers, triangles and wooden thingies that we don't know the names of. Sampled guitar hits and scrapes provide convenient hits. @:24 a short percussion break gives you a good start/stop point.
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Berimbau, guiros, electronic drums and various metal percussion create a clock-like background. You might think it sounds only slightly sinister in the beginning, but @:19, slightly damped synth drones in the background come and slap you into the world of evil.
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Think all Sambas are well-adjusted and happy? An authentic Brazilian Samba pattern accompanied by a lo-fi house drum loop and slightly eerie pads that foretell that disaster is imminent. Simple percussion, but provides a sense of constant movement which makes it perfect for both underscore and promo applications. Breaks @:29 and :44.
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You're just walking along to a steady beat, when you suddenly notice the group of savages who haven't had their Lean Cuisine in days. Tense bed of Mayan hand drums (forward and reversed), more metal banging, and, @:19 marimbas make you wish you had made it a Blockbuster night. Good neutral bed.
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Fast, driving and simple. A rapid conga procession alternates with strange grating/brushing noises as you run through the jungle like Martin Sheen avoiding a paternity suit. The horror. A series of stabs enter @:41, just for punctuation.
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Flanged bass and under-your-fingernails shakers kick off this atmospheric and moody piece suitable for light drama or semi-important investigations (those "some settling may occur during shipping" jerks). Kicks in with pounding drums @:14, takes an all-percussion break @:42.
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Slightly processed timbales, congas and bongos provide a slightly natural rhythm track tainted by technology. Lots of movement and a feeling of light tension - like a slapfight between two angry percussionists and Tito Puente's mother. Hits at the right places make this a good active bed for any promo.
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On the outside, it seems like a nice percussion bed featuring a laid-back bass groove, synth pads and simple percussion. But - hold it - that triangle seems a little dangerous. And that washed-out heavily reverbed crashing noise?! Under the placid surface of this piece, trouble lurks.
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Electric guitar. Cavaquinho (a South American ukulele). Together for the first time. An ominous guitar chord makes the first couple of seconds kind of dark, but @:04, the ukulele perks things right up. And after we add light Brazilian percussion @:29, the mood gets even more painfully joyous than a new employee at Happyland.
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Beat- and bass-heavy, this is THE piece for the investigative story that needs that a sure, confident attitude. Tinkly rattles and bells combined with eerie synths all remind us that the rainforests are slowly being destroyed (and the lemurs are pissed). Beat break @:52.
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A funky ukulele (oxymoron, perhaps?) and various percussion start the piece out happily, until :14, when a dark ominous mood moves into the neighborhood. Various squeaks and sound designy-percussion hits help to make a slightly spooky piece slightly spookier. (Fact: the squeaks are not dogs - they're the sound of cuicas, brazilian percussion instruments - played by dogs.)
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"Ahh" meets "AHHHHHHHH!" First, it's hyper and intense - then relaxed @ :15 - then back to hyper @:19 - then relaxed again @:29. The musical equivalent of most people's bosses. The hyper section features fast Latinesque percussion, distorted keyboards and an insistent drum loop. The relaxed version is just light congas and the ever-so-gentle synth pad.
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A piece based on all the sounds your ordinary office water-cooler bottle can make. Slap bass noises and big hits lend this track an air of light industry doing bad things in somebody else's backyard. After :30, more hits and metal shakers hang out at the cooler and catch up on gossip .
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Want attitude? Well, how about a cuttin' (notice the hip use of the apostrophe), funky bass riff that is perfect for any story that needs that fresh-from-the-gritty-streets-of-the-city feel. Combine it with a happenin' (it's that apostrophe again!) drum loop and you've got a kickin' (help - we can't stop) track. A child's wooden train flute provides the hits. Weird, but it works.
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Straight-ahead fast percussion bed with stacked bongos, bending metal objects, bead shakers, and tambourines. Based on the Maculele dance from Brazil, but Iron John fans will appreciate it also. Perfect when you want a subtle feeling of activity - without going overboard.
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A definite heartbeat-of-the-city-type cut, with a subtle lo-fi hip hop beat, various percussion and a couple of groovin' bass players. But just when you thought it was predictable, we threw in a weird break or two (@:24, for example.) Murky hits give it a hint of mystery and tension.
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With more mood swings than 'Carrie,' this piece varies between an in-your-face bass rhythm to a happy vibe-filled moment of Zen and most things in between. The most confusing :39 you'll ever spend. Even WE don't know what this one's about.
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Starts with a bang, a whoosh, and then heads into a melancholy bass line doubled with sub-bass. Sense of tension and slight mystery. Slowed hip-hop drums enter @:33 to pick up the pace, if not the mood.
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A slow bass groove accentuated with every possible percussive instrument that rattles or shakes. Slightly positive in mood, depending on what instrument is featured. From wood chimes, to ankle bell pods, to a typewriter bell, to shakers of every size and shape. Slightly mysterious - with a jungle/environmental kind of feel. (We also wonder what "environmental" sounds like.)
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Mardi gras music. Close your eyes and you're in some South American country parading down the street with a bunch of drunk percussionists and a lot of people in thongs. Not a lot of hits - good for rhythmic beds, when a heavy percussion track would be too intrusive.
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Half nursery-rhyme, half Brazilian beach music, this track gracefully walks the thin line between a semi-serious investigative piece and light human interest. Wispy synth pads and light, pretty bass create a travelogue through the lush beaches of South America.
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Simple African percussion, wood chimes, a cavaquinho, and a chirping-like chorus of vocal samples throw a lei around your neck and put you on some tropical beach. @:57, a subtle piano comes in to give it a little of a Cuban feel. Good for that happy, 'I'm-on-vacation' feeling - just before the sunburn hits.
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A tango with the devil. You're doing something really bad for you but are having way too much fun to stop. Devil-may-care piano, jaunty percussion and a sensuously guilty feeling. The dance builds all the way to its (sorry) climax @:29. Definitely music for sex.
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Fat bass, funky guitar, cowbells and wooden sticks make this perfect for vigilante justice in unsavory places. Slows down @:12. Drums come in big @:32 with a complex change @:43.
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A lurching samba rhythm without sounding too...well...samba-ish. Very bed-like and neutral with subtle variations and different layers shuffling in and out. Gets happier @ :56. Good for when a background rhythm has to stay in the background and behave.
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Starting with a simple Casiotone-keyboard-sounding rhythm, a pair of basses, live percussion and berimbau come in piecemeal @:09 and give it a funk edge. By :19, the piece is in full swing, providing a subtle but infectious groove which is easy to cut to. @:39, the drum loop drops out, giving you a slightly different mix.
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Very cool, jazzy and laid-back, a bass guitar and xylophone create a light background with a steady, infectious beat. The percussion (triangle, ratchet, etc.) give this piece an almost clock-like or slight mechanical quality. Good for light investigations.
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A bouncy, slightly hyperactive, child-like piece that is cheeky, quirky and unique. By using a mouth harp, congas, shakers and bongos, we've come up with music that would either be featured in a child's video game - or a nightmare about repetitious viewings of 'I Love Lucy.' Have a humorous story? Try this one. It'll work.
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Bouncing accordion, smiley timbales and congas, joyous clapping and rolling bass. Breaks down @:32, but kicks back in again, barreling all the way to a big finish @1:04.
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An upbeat, Flamenco-esque cut that features timbales, guitar, a fretless bass and some hyperactive hand clapping. @:29 and 1:00, you think the song's over - but suddenly, it's back again, like - well - its STD namesake. Useful for light investigations or humorous pieces. (Warning: do not play this too loud If you own 'The Clapper.')
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Light acoustic guitar and upright bass with tons of subtle Latin percussion, including claves, cowbells, wood blocks and Tito Puente's mother. Drums come in @:32 and provide a little more drive. Very light and friendly.
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What walks down stairs and makes a neat percussion instrument (besides Tito Puente's mother)? Well, we took a Slinky, shakers, a series of African tuned percussion instruments and came up with a happy little tune that has tons of breaks and hits that ended up sounding like something from Jamaica.
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Cartoony/video game-esque. We took wood blocks, wood flutes, wood drums, wood chimes, wood shakers, Ed Wood, and Woody Harrelson and beat them senseless - to create a very childlike and humorous piece. Ends very convincingly @:29.
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主版本-An eerie, percussive look into the machinations of a loud factory-like environment. Trash cans, metal pipes and various percussion start at low tension - and then, by :19, the machines are working full-blast. Various dips in the tension help you find edit points (@:47, for example). A musical interpretation of what it was like in Kathie Lee's sweatshop.
-
主版本-Laced with liquidy, evil sound design elements, light percussion provides a bed for dark, mysterious synth beds. Big sweeping hits @:30 and :54. it's perfect for occult or mysterious pieces - not to mention human sacrifices.
-
主版本-A distressingly deep drone, cowardly craven congas, and tauntingly tense triangle set the stage for an almost amazingly alliterative agglomeration of aural accents. Imagine 100 Kerry Strugs chasing you to the vault under the vengeful gaze of an evil Bela Karolyi.
-
主版本-Starts spare and foreboding with a giant lone drum and beating an air-conditioning duct. Immense processed guitar and even bigger drums come in @:09. Stays huge-sounding and threatening through :30, which is preceded by a fantastic fill. Reminds us of a mammoth mechanical leviathan destroying all in its path. Or Charo. We can't decide.
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主版本-Cacophonous. You're trapped in the engine room of a sunken ship, and you're trying to let someone know you're not dead yet. Featuring a drum kit of unlikely metal objects, including pipes, garbage cans, pots, and an artificial hip. Climaxes @:29 and :48. Washed-out synth drones add a touch of terror. The rhythm spells 'SOS' in Morse code, if you care.
-
主版本-Potent toms, powerful congas, agitated triangle and other distraught drums create serious tension. Damaging hits and contorted washes raise the level even higher. Disfigured voices enter the background @:35, :55 and 1:11. When you've got a big problem that just won't go away.
-
主版本-This sounds like a LOT of police drama themes. Heavily processed toms, electronic percussion and synths are guaranteed to make a tense situation. Takes a donut break @:30, but then really starts threatening your bladder control @ :44. Hey - let's be careful out there.
-
主版本-Disquieting pads, deliberately-paced percussion and processed cymbal sweeps. You're barely awake at dawn reeling from events the night before. Low bass drone comes in @:14. Unsettling and cinematic.
-
主版本-This weird, repetitive and decidedly spooky cut features the hiss of a record, a backwards drum loop, an incredibly indecisive piano player and an evil cello. Puts you alone on a dark, cobblestoned street, with the unmistakable feeling you're being followed by Tito Puente's mother. Guaranteed to give everyone the creeps.
-
主版本-A steady, heart-beat-like, almost hypnotic rhythm, this combination of Brazilian percussion, metal sounds and ever-so-disturbing waterphone screeches creates an almost frantic atmosphere that is pretty darn tense.
-
主版本-A suspenseful shaker and snare pattern builds up until :14, where a drum loop comes in and everything explodes into a hip, slightly dark investigative mood. Taking a brief pause @:24, only to explode again @:30. @:45, the piece starts over again. Perfect for hard news and tough investigations.
-
主版本-Indian percussion, clay udus, various bells and a zither-like instrument transport you to a dark, mysterious land where people burn incense to keep away evil spirits and are healed by mystics (but not California). Got a story about herbal healing? Crystals? Jerry Brown? THIS is your music.
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主版本-The same, only, well, with no drums. For a more mystical, organic feel.
-
主版本-A swirling, constant rhythm of phased and delayed drums that is the sonic equivalent of an all-opium lunch. @:42 starts to build up to a big finish @:49. Slightly tense, this piece could be used for drug-related stories and any weird situation du jour.
-
主版本-How would live percussion recorded through a distorted guitar amp sound? Like crap. But really cool crap. Edgy, driving, and bed-like with weird sound design floating around randomly. The sound of technology running into the primitive nature of man. Ending disintegrates like a cheap pair of counterfeit Levi's.
-
主版本-Fast-paced, percussion-fest which features a slapped bass and every percussion instrument we own. Perhaps the most hit-laden piece of promo music ever, this selection constantly moves, giving the impression of a frantic pursuit or the all-you-can-eat buffet at Bob's Big Boy.
-
主版本-An uptempo percussion piece that is the aural equivalent of a chase scene, with things constantly happening. A regular cornucopia of hits and edit points - with a slight middle eastern feel. Just when things calm down a bit @1:03, builds up to a climax again @1:40. (Fact: performed using various things we found lying around the office, including a water bottle, scissors, and a photo of oft-forgotten President Grover Cleveland.)
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主版本-Deep Daiko drums, scraped sheet metal, and swirling congas pound out a serious warning to all trespassers. Rises in intensity @:19 and :42. Great slightly ominous bed.
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主版本-Newsy and global. Big tympanis, percolating balafon, and of course, a big ol' snare drum. Great moderately negative underscore. Useful for Gulf War Syndrome, traitors to the Flag, and politics.
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主版本-A fast, Middle-Eastern-tinged groove brings you right back to an escape from some ol' Turkish Prison. A catchy melody (provided by an unidentifiable middle eastern stringed instrument) intertwines with heavy drums, scraped springs, and plenty of drum breaks. @:46, the beat gets even more pronounced and the tension grows.
-
主版本-A groovin' heavy bass, bongos and congas that take well-placed pauses for dramatic hits @:09, :19 and :29. Definitely gives the feeling that action is going on and that the bad guys are getting nervous. Good for consumer investigations and cop shows from the 70's.
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主版本-Winner of the 'Weirdest Piece on the Disc' award. A simple berimbau figure repeats over spooky talking drums and synth drones while various percussion-generated moans and squeaks litter the sonic landscape like so much styrofoam. A feeling of eerie isolation reinforced by random delayed piano notes that help provide hits and edit points.
-
主版本-Moody, disturbing multi-layered ambiance with an air of the supernatural. Twisted whistling in @:09 with assorted distorted noises and hits all over.
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主版本-A slow, mysterious, almost mechanical track featuring rhythmic distorted breathing sounds, subtle synth pads and a couple of drum loops. Gives the impression of time passing excruciatingly slowly while you're in a dark factory with a heavy smoker.
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主版本-Something weird is going on. Drums, shakers and a hyperactive xylophone player @:24 push this piece off-balance and keep it there. Tons of hits and breaks litter the piece just to keep it interesting. Good for light investigations and stories that need that quirky, humorous edge.
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主版本-Problems with the military? Post-traumatic stress syndrome? Eerie synths and a steady, military snare pattern put you back on the beaches of Normandy, the Jungles of Asia - or Filene's Basement during a white sale. Very repetitious with interspersed sound design-y explosions and hits make this the perfect bed for all serious military investigations or war pieces.
-
主版本-Heavily reverbed police/fire sirens combined with shakers, a simple bass line and an upbeat tempo. @:29 the beat stops briefly, but then comes right back in @:36. Slightly positive - but also slightly tense. What else can we say about a song whose featured instrument is a siren?
-
主版本-Authentic East Indian instruments and rhythms slowly build in intensity - and weirdness - climaxing @:30. Then @:35 the piece takes a different turn, when the haunting voice of a chanting East Indian woman floats around a more contemporary East Indian beat. Good for mystical or even Middle-Eastern tinged pieces.
-
主版本-Very ethereal with a touch of eerie thrown in, this conglomeration of a 70's dance loop, metal percussion, mouth harp and waterphone squeaks can be quite unsettling. Reversed cymbals and gongs provide hits at all the right places.
-
主版本-Uptempo, slightly action-oriented/suspenseful, this piece features a slapped bass and a collection of tension-inducing percussion, like shakers, triangles and wooden thingies that we don't know the names of. Sampled guitar hits and scrapes provide convenient hits. @:24 a short percussion break gives you a good start/stop point.
-
主版本-Berimbau, guiros, electronic drums and various metal percussion create a clock-like background. You might think it sounds only slightly sinister in the beginning, but @:19, slightly damped synth drones in the background come and slap you into the world of evil.
-
主版本-Think all Sambas are well-adjusted and happy? An authentic Brazilian Samba pattern accompanied by a lo-fi house drum loop and slightly eerie pads that foretell that disaster is imminent. Simple percussion, but provides a sense of constant movement which makes it perfect for both underscore and promo applications. Breaks @:29 and :44.
-
主版本-You're just walking along to a steady beat, when you suddenly notice the group of savages who haven't had their Lean Cuisine in days. Tense bed of Mayan hand drums (forward and reversed), more metal banging, and, @:19 marimbas make you wish you had made it a Blockbuster night. Good neutral bed.
-
主版本-Fast, driving and simple. A rapid conga procession alternates with strange grating/brushing noises as you run through the jungle like Martin Sheen avoiding a paternity suit. The horror. A series of stabs enter @:41, just for punctuation.
-
主版本-Flanged bass and under-your-fingernails shakers kick off this atmospheric and moody piece suitable for light drama or semi-important investigations (those "some settling may occur during shipping" jerks). Kicks in with pounding drums @:14, takes an all-percussion break @:42.
-
主版本-Slightly processed timbales, congas and bongos provide a slightly natural rhythm track tainted by technology. Lots of movement and a feeling of light tension - like a slapfight between two angry percussionists and Tito Puente's mother. Hits at the right places make this a good active bed for any promo.
-
主版本-On the outside, it seems like a nice percussion bed featuring a laid-back bass groove, synth pads and simple percussion. But - hold it - that triangle seems a little dangerous. And that washed-out heavily reverbed crashing noise?! Under the placid surface of this piece, trouble lurks.
-
主版本-Electric guitar. Cavaquinho (a South American ukulele). Together for the first time. An ominous guitar chord makes the first couple of seconds kind of dark, but @:04, the ukulele perks things right up. And after we add light Brazilian percussion @:29, the mood gets even more painfully joyous than a new employee at Happyland.
-
主版本-Beat- and bass-heavy, this is THE piece for the investigative story that needs that a sure, confident attitude. Tinkly rattles and bells combined with eerie synths all remind us that the rainforests are slowly being destroyed (and the lemurs are pissed). Beat break @:52.
-
主版本-A funky ukulele (oxymoron, perhaps?) and various percussion start the piece out happily, until :14, when a dark ominous mood moves into the neighborhood. Various squeaks and sound designy-percussion hits help to make a slightly spooky piece slightly spookier. (Fact: the squeaks are not dogs - they're the sound of cuicas, brazilian percussion instruments - played by dogs.)
-
主版本-"Ahh" meets "AHHHHHHHH!" First, it's hyper and intense - then relaxed @ :15 - then back to hyper @:19 - then relaxed again @:29. The musical equivalent of most people's bosses. The hyper section features fast Latinesque percussion, distorted keyboards and an insistent drum loop. The relaxed version is just light congas and the ever-so-gentle synth pad.
-
主版本-A piece based on all the sounds your ordinary office water-cooler bottle can make. Slap bass noises and big hits lend this track an air of light industry doing bad things in somebody else's backyard. After :30, more hits and metal shakers hang out at the cooler and catch up on gossip .
-
主版本-Want attitude? Well, how about a cuttin' (notice the hip use of the apostrophe), funky bass riff that is perfect for any story that needs that fresh-from-the-gritty-streets-of-the-city feel. Combine it with a happenin' (it's that apostrophe again!) drum loop and you've got a kickin' (help - we can't stop) track. A child's wooden train flute provides the hits. Weird, but it works.
-
主版本-Straight-ahead fast percussion bed with stacked bongos, bending metal objects, bead shakers, and tambourines. Based on the Maculele dance from Brazil, but Iron John fans will appreciate it also. Perfect when you want a subtle feeling of activity - without going overboard.
-
主版本-A definite heartbeat-of-the-city-type cut, with a subtle lo-fi hip hop beat, various percussion and a couple of groovin' bass players. But just when you thought it was predictable, we threw in a weird break or two (@:24, for example.) Murky hits give it a hint of mystery and tension.
-
主版本-With more mood swings than 'Carrie,' this piece varies between an in-your-face bass rhythm to a happy vibe-filled moment of Zen and most things in between. The most confusing :39 you'll ever spend. Even WE don't know what this one's about.
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主版本-Starts with a bang, a whoosh, and then heads into a melancholy bass line doubled with sub-bass. Sense of tension and slight mystery. Slowed hip-hop drums enter @:33 to pick up the pace, if not the mood.
-
主版本-A slow bass groove accentuated with every possible percussive instrument that rattles or shakes. Slightly positive in mood, depending on what instrument is featured. From wood chimes, to ankle bell pods, to a typewriter bell, to shakers of every size and shape. Slightly mysterious - with a jungle/environmental kind of feel. (We also wonder what "environmental" sounds like.)
-
主版本-Mardi gras music. Close your eyes and you're in some South American country parading down the street with a bunch of drunk percussionists and a lot of people in thongs. Not a lot of hits - good for rhythmic beds, when a heavy percussion track would be too intrusive.
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主版本-Half nursery-rhyme, half Brazilian beach music, this track gracefully walks the thin line between a semi-serious investigative piece and light human interest. Wispy synth pads and light, pretty bass create a travelogue through the lush beaches of South America.
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主版本-Simple African percussion, wood chimes, a cavaquinho, and a chirping-like chorus of vocal samples throw a lei around your neck and put you on some tropical beach. @:57, a subtle piano comes in to give it a little of a Cuban feel. Good for that happy, 'I'm-on-vacation' feeling - just before the sunburn hits.
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主版本-A tango with the devil. You're doing something really bad for you but are having way too much fun to stop. Devil-may-care piano, jaunty percussion and a sensuously guilty feeling. The dance builds all the way to its (sorry) climax @:29. Definitely music for sex.
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主版本-Fat bass, funky guitar, cowbells and wooden sticks make this perfect for vigilante justice in unsavory places. Slows down @:12. Drums come in big @:32 with a complex change @:43.
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主版本-A lurching samba rhythm without sounding too...well...samba-ish. Very bed-like and neutral with subtle variations and different layers shuffling in and out. Gets happier @ :56. Good for when a background rhythm has to stay in the background and behave.
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主版本-Starting with a simple Casiotone-keyboard-sounding rhythm, a pair of basses, live percussion and berimbau come in piecemeal @:09 and give it a funk edge. By :19, the piece is in full swing, providing a subtle but infectious groove which is easy to cut to. @:39, the drum loop drops out, giving you a slightly different mix.
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主版本-Very cool, jazzy and laid-back, a bass guitar and xylophone create a light background with a steady, infectious beat. The percussion (triangle, ratchet, etc.) give this piece an almost clock-like or slight mechanical quality. Good for light investigations.
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主版本-A bouncy, slightly hyperactive, child-like piece that is cheeky, quirky and unique. By using a mouth harp, congas, shakers and bongos, we've come up with music that would either be featured in a child's video game - or a nightmare about repetitious viewings of 'I Love Lucy.' Have a humorous story? Try this one. It'll work.
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主版本-Bouncing accordion, smiley timbales and congas, joyous clapping and rolling bass. Breaks down @:32, but kicks back in again, barreling all the way to a big finish @1:04.
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主版本-An upbeat, Flamenco-esque cut that features timbales, guitar, a fretless bass and some hyperactive hand clapping. @:29 and 1:00, you think the song's over - but suddenly, it's back again, like - well - its STD namesake. Useful for light investigations or humorous pieces. (Warning: do not play this too loud If you own 'The Clapper.')
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主版本-Light acoustic guitar and upright bass with tons of subtle Latin percussion, including claves, cowbells, wood blocks and Tito Puente's mother. Drums come in @:32 and provide a little more drive. Very light and friendly.
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主版本-What walks down stairs and makes a neat percussion instrument (besides Tito Puente's mother)? Well, we took a Slinky, shakers, a series of African tuned percussion instruments and came up with a happy little tune that has tons of breaks and hits that ended up sounding like something from Jamaica.
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主版本-Cartoony/video game-esque. We took wood blocks, wood flutes, wood drums, wood chimes, wood shakers, Ed Wood, and Woody Harrelson and beat them senseless - to create a very childlike and humorous piece. Ends very convincingly @:29.