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production music library

Modules: Disc 10

VHMD10    曲目数量:50首

介绍:Continuing adventures in Narrative Sound Design. Good for: Horror, Trailers, Sound Design.

品牌名称:VHMD  

专辑曲目
  • 1.
    Blinding Hatred-主版本-
    00:47
    Nightmarish, shocking and disruptive, this cut is a series of episodic, non-sequitur-ish beds. Opening with a distorted scream and rumbling overdriven electrical sounds, this cut features a variety of rising/building beds of warbly electric current, buzzy static, electronic rumbles, time-stretched synths and water effects, each bed separated by intrusive, slamming drum hits. Good for Horror, technological disasters, having an iPhone/communications failure.
  • 2.
    My Machine Heart-主版本-
    00:59
    Sure, it's a heartbeat - but from a giant heart, half wet and gushy-sounding organic and half mechanical, sitting in the middle of a room, beating slowly. And menacingly, because it's a fucking giant half-mechanical heart in a room. Various swells and crescendos throughout suggest the heart morphing into something even less appetizing and more electrical-sounding while the pulse begins to accelerate @:28. Good for tension, technological suspense and realizing how negative it is to say that someone has a "heart-shaped ass." Ugh.
  • 3.
    Vikings From Hell-主版本-
    01:03
    Sound the alarm! This arresting and frightening cut portrays the rumble, clatter and din of a home invasion, if your home also happens to be an entire civilization. Modern meets ancient as horn blasts and war drums kick off episodes of looting and pillaging, later reinforced by pads of distorted undertones, low synth bass and metallic rhythms. Becomes more rhythmic @:30 with larger, more threatening drums and distortion. Good for historical conflict, plans gone wrong, murder, world domination, any naval battle with oars, or pretty much anything violent, ever.
  • 4.
    Bending Time-主版本-
    01:55
    Like high frequencies? Not after this cut you won't. This horror/suspenseful cut is about things falling apart: from the initial crystal-clear, high-pitched bell at the top that slowly becomes irresolute and corrupted, to the atmospheric and uncertain atmospheric bell-scape @:20 that begins to crack and dissolve into sharp shards of useless adjectives. Filled with hits, mood changes and the sense that nothing is permanent, this cut works for lending a sense of uncertainty and corruption to something once-beautiful, suggesting that reality is breaking, you've suffered severe hearing loss or that ice-fishing during summer was a horrible idea.
  • 5.
    Everest Awakens-主版本-
    00:45
    Pounding, dark warning that something is escaping - or coming in whether you want it or not. Powerful low-frequency hits against crumbling stone-like debris, suggesting the painful last steps up a mountain's face. The world's lowest-frequency string sound, metal/stone crackling, thumping drums, synths and an accelerating tempo make this cut perfect for break-ins, espionage, hacking, etc - anything that involves chipping away at something that either protects or impedes you. Good for investigations, montages of horrible images or visually crumbling titles.
  • 6.
    Oblivion Fuse-主版本-
    01:25
    Tense construction and evolution of something moderately stressful and scary, like the Brutenskrivbord desk from Ikea. Atmospheric, reverbed and foreboding, this spare but hit-filled cut features string scrapes, wooden tension, acoustic drum hits, vibrating strings, low synths and friction swells suggesting tension, suspense and frustration as the desk instructions require a prehistoric hand tool (not included) and lingonberries. @:38 alarm-like string scrapes and wooden, clock-like ticking suggest fear, slow disintegration and that time (and patience) is running out.
  • 7.
    Machines Of War-主版本-
    00:59
    Ever been beat up by an automated metal stamping machine? Really? You know you could've just run away, right? This brutal-sounding cut uses machine gun-like mechanical bursts to create disruptive episodes of metal-on-metal violence that are augmented by low synth bursts, distorted tones and delayed beds of metallic feedback. And random-ass hits. Tons of them. Good for violent confrontations, shocking scenes of violence, title reveals for shows about toughness and being repeatedly hit in the face.
  • 8.
    Synapse-主版本-
    00:54
    Want to finally get rid of those weak-hearted viewers once and for all? Small, crumbling, insect-like beds of intimate, chittering organic-meets-technological/data-like sound design are broken by huge, large-scale disruptive, chair-staining percussive hits and horn-like blasts. A brief brittle and inhuman heartbeat-like rhythm @:31 is broken by a final blast @:45. Good for shocking images, technological surprises, crumbling communication networks and mechanical breakdowns.
  • 9.
    Derailment-主版本-
    01:38
    Tired of subtle metaphors? This one will hit you like a bag of unripened kittens. Several suspenseful, menacing, terrifying builds resulting in explosive impacts - all utilizing train sounds: from the rhythm of their engines, to the metal scraping of the tracks/wheels, to the tapping of the furiously texting engineer. This cut is a variety of builds that start small and distant and grow bigger, more oppressive, threatening and busy until climaxes @:25, @:43, @1:05 and @1:25. Good for suggesting impending disaster, fear, tense stand-offs and being trampled. Repeatedly.
  • 10.
    Fear Nothing But Yourself-主版本-
    00:59
    Periods of frenetic, violent disorienting percussive activity separated by moments of stunned silence. Starting with pounding, arrhythmically accelerating footstep-like wooden hits and rising dissonant strings that climax @:12, the cut then becomes a fever-dream-esque collage of low synths, banging, airy swells and general smashiness. Good for short, sporadic bouts of violence, investigations, or titles/opening montage for "When Percussionists Attack."
  • 11.
    Shift-主版本-
    00:41
    Need to kick a spot into high gear? Maybe push it into overdrive? Then those of you overly-literal types will love this: mechanical shifting sounds precede a variety of explosive, frenetic and dynamic bursts of real/processed engine sounds, Doppler-shifted car drive-bys and accelerating/decelerating synth pulses that approximate a racecar wildly shifting between gears. Good for NASCAR, Formula One races, any quick change of scene, title animations and if there's ever a reality show about valet parking attendants.
  • 12.
    Caverns-主版本-
    01:20
    A really clumsy cellist wants you dead. Groaning metal stress, low vibrating strings, low blown instruments and varieties of friction create a tense, foreboding atmospheric bed accented by thudding percussive hits. All of which start accelerating and rising in pitch towards a fake-out @1:03, with a final climactic hit @1:11. Good for dark creep-outs, being stalked by depressed baleen whales, images of desolation and Horror.
  • 13.
    Massacre-主版本-
    00:39
    Foreplay for catastrophe. Planning a violent attack? Have a fascination with weaponry? Need to creep people out? This low-key, montage-like cut uses processed gun handling sounds (loading, being cocked, etc), low, thrumming radio noises and atmospheric metals to suggest impending violence or danger. Good for investigations, crime scenes or technological tension.
  • 14.
    Hack The Planet-主版本-
    01:16
    It's 1980 and the computers have declared war. But since they only have 16Kb of memory and the computing power of a calculator, nobody notices. Dark, synthetic combat as suggested by bit-dithered/delayed synth hits, explosions, beds of rising tones, garbled time-shifted information and the dial-up modem of yore makes a brief cameo @:55 as tensions rise to a climax. Good for technological crises, evil video games, communication disasters and letting people know you've still got a Newton palm device.
  • 15.
    Airlock Failure-主版本-
    01:30
    Slow, creepy and foreboding synthetic/technological breakdowns that ultimately result in death, or minor hearing loss if you're listening with earphones. A series of sharp, electricity-like blasts/failures and ultra-low-frequency "whale sighing" suggests when you built your space station, the lowest bidder might've been a bad choice. Low, shifting, breath-like tones @:33 suggest a dark, unpleasant situation, made more threatening and unpleasant by skittering metallics and more electrical disruptions. Good for internet terrors, astronaut nightmares and that "Lowest Bidder Inc" is a horrible name for a company.
  • 16.
    Terrifying Wonder-主版本-
    02:38
    Total astonishment morphs into abject terror, littered with intense trailer action/drama and minor pants-wetting throughout. Begins mystical and mysterious with low percussion, buzzy low synths, voices, wind chimes and suspended metals suggesting imminent danger and tension. @:36 fear and panic arrive as you're assaulted by waves of huge, pounding taiko-esque drums, synth "shrieks," an epileptic bell tree player and the general feeling of destruction and violence. A rise begins @1:28 featuring percussion, dissonant synths/choirs and churning low earthquake-like rumbling, all building in tenor and pitch until the final hit @2:13. A mysterious, wind-blasted ambient vocal coda @2:18 adds a bed of stunned, atmospheric aftermath. Good for violent confrontations, Horror, tense standoffs and battles between good and evil.
  • 17.
    Black Magnet Monolith-主版本-
    01:02
    Nightmarish, violent attacks amidst beds of various desolate soundscapes and builds. Episodic, slamming, percussive, arresting hits create "WAKE THE HELL UP" moments throughout a bed of delayed Morse code-like sine synths, low rumbling builds and other backgrounds, some small and neutral, but later getting more oppressive and chaotic, like the brief but insane metal avalanche @:36. Good for crime scenes, jump-scare horror and frightening the pants off people (hopefully attractive ones).
  • 18.
    Multiple Perspectives-主版本-
    00:39
    Vibrating, dreamlike, ultra-sharp metallic/glass that changes in speed, distance from the listener, and pitch, creating a hallucinatory experience that suggests a sporadically and randomly changing environment. Good for suggesting drug trips, morphing graphics and confusing an entire month's worth of pain medication for a handful of M&Ms, making your hand and mouth melt in your mind.
  • 19.
    Buried Ancients-主版本-
    00:51
    Creepy and suspenseful series of doors opening and closing with dark consequences, but surprisingly few crushed fingers. Creepy and mysterious with eerie synth-like voices, airy whooshes, mechanical underpinnings and strangely enough, train sounds (@:20). A series of short, tense builds appropriate for Horror, jump-scare frights, Halloween and trying to find your way out of a door store.
  • 20.
    Arachnibots-主版本-
    00:52
    Being stalked? Haunted by frightening visions? Dressed like a eucalyptus leaf at a hungry koala convention? Imagine you're trapped in a web, with a giant spider slowly approaching, its footsteps resonating against the fibrous tendrils. Creepy, suspenseful, foreboding and slow, this cut uses time-stretched organic/digital stamp-like "footstep" hits to punctuate a bed of rattling, atmospheric wooden/rainstick-like movement. The hits begin to accelerate @:28. Good for crime scenes, slow montages of disturbing images or simulating the ominous and foreboding tolling of a bell - without the bell.
  • 21.
    Blinding Hatred-替代版-
    01:59
    Suspenseful technological horror. Starting small and spare, this fear-inspiring, scary rhythmic bed builds from distant electronic, heartbeat-like pulses, a thin sheen of synth pads, falling synth "screams" and electronic sound design to a more present, in-your face shuddering bed of tension @1:07. Good for impending technological disasters, hacking and any new iOS release.
  • 22.
    My Machine Heart-替代版-
    01:11
    It's a heartbeat. Seriously, this should surprise no one that there's a rhythmic version. Pulsing, low-pitched synthetic electrical sounds, combined with the muted contractions of a heart, that grow more present and upfront. Pretty similar to the MAIN version except longer. Good for tension and suggesting things are getting worse.
  • 23.
    Vikings From Hell-替代版-
    01:26
    Dark, distorted stop/start bed of building tension broken by explosive alarm-like claxons and organic percussive interludes. @:22, a new stop/start rhythm bed develops, gradually adding layers of fire and brimstone - which incidentally make for a terrible kitchen countertop. The hits accelerate @1:13. Evil, foreboding and ugly - perfect for impending doom and disaster, appropriate for end-of-the-world-level conflicts, violent sports, and a slide-projector-esque montage of horrible images.
  • 24.
    Bending Time-替代版-
    01:05
    Clock-like and measured, this cut suggests building tension, time passing or somebody's got nervous fingers. Starting with an electric zap, this cut features high-frequency bells, percussive metallics and various loopable rhythms, starting small and intimate, but progressively getting more complex and nervous-feeling @:25. Grows bigger and more expansive towards the end, building to an electricity-filled hit @:59.
  • 25.
    Everest Awakens-替代版-
    01:07
    Repeating stabs of ultra-low cello/bass act as a foreboding, alarm-like warning that something dangerous is coming or that you have the most depressing ring tone ever. The low stabs change character throughout, adding metallic scrapes, stone debris and insistent, pounding drums which begin to accelerate to a climax @:51. Good for a series of disturbing images, slow dissolves, grabbing people's attention and suggesting a breach of security or defense.
  • 26.
    Oblivion Fuse-替代版-
    02:05
    Time is running out. Both figuratively (as the piece suggests) and literally for the poor Chinese stringed Guzheng we hit, scraped, plucked, dropped, sued, disemboweled, spoke badly of, set fire to and then fed its remains to our intern. This slow, methodical cut uses a variety of wooden ticking hits, string scrapes, stamps, and electronic drum machine sounds to suggest bombs are about to go off, something bad is imminent and tension is building, especially for Charlie, who lent us his guzheng.
  • 27.
    Machines Of War-替代版-
    00:36
    Technological mystery becomes violence. Starts with an almost-relaxing bed of sterile, delayed mechanical ticking that suggests time passing, desolation or computer-like activity until the onslaught of hits begin. First we're hit with harsh stabs of scraping metal and low synths @:13, then a relentless onslaught of machine-like stamping @:26. Good for fast cutting, technological/internet disasters and Thoreau's Walden if it were suddenly interrupted by an axe-wielding maniac.
  • 28.
    Synapse-替代版-
    01:46
    Dark, slightly sinister sense of time passing with a technological bent. An artificial-sounding bed of pulsing, bit-dithered and crunchy static provides a bed as mechanical, insect-like skittering, ticking, synth bass and heartbeat-like acoustic/electronic kick enter @:13, littered with various washes of buzzy synths. Provides a variety of mix variations from spare to complex, but all suggesting an evil clock, an internet-destroying bomb about to go off or that Kraftwerk really has lost their shit.
  • 29.
    Derailment-替代版-
    01:12
    Building suspense and tension via pitch-shifting beds of complex and busy train engine sounds and throbbing low frequencies, all ending in climactic percussive/metallic hits @:24, @:53 and @1:05. Good for quick cutting, suggesting an impending riot or a violent showdown.
  • 30.
    Derailment-替代版-
    01:10
    Need to suggest industrious growth or the evolution of something complex? This forward-moving percussive bed of edited train-sourced thumps and clanks combines a sense of constant activity with pass-bys and slightly subtle train-oriented sound design. Starts with blasts of train horns for that extra "all-aboard" feel.
  • 31.
    Fear Nothing But Yourself-替代版-
    01:54
    Straddling the line between tough and neutrally informational, this mid-tempo bed of straightforward electronic/organic drums progressively grows slightly more complex and driving, but still remains background-friendly. With added movement provided by delayed synths and some tension @1:28 introduced by a dissonant metallic/string swell that builds to a climactic hit @1:39. Good for investigations, something is coming to rough you up or just suggesting that a mildly angry clock is telling you time is passing.
  • 32.
    Shift-替代版-
    00:55
    Technological progress and dissolution. This neutral-to-positive, mid-tempo cut uses grinding, high-frequency synth-like friction, pulsing synth ostinatos, airy synth pads, delayed shaken percussion and processed electronic drums to create a bed of sterile activity that grows in complexity throughout. It experiences a breakdown/failure @:17, recovers, then slowly becomes more arrhythmic and falls apart @:43. Good for suggesting internet connectivity, communication (and its breakdown) and informational exchanges.
  • 33.
    Caverns-替代版-
    01:48
    Something bad is going to happen. Something incredibly organized and not terribly surprising, but scary nonetheless. Measured (okay, slow) puffs of low, blatty brass/synths are creating a variety of dangerous-sounding alarm-like beds, augmented by friction-like "cries" and martial-sounding drums that vary in density and activity. A final, big drum/low pulsing bed starts @1:03 and grows bigger and more threatening until it anti-climaxes @1:39. Good for tense buildups and impending disaster.
  • 34.
    Massacre-替代版-
    00:52
    A bed of rhythmic radio hum is made musical while distorted, distant hits, electronic percussion, ultra-subtle crowd chants and intimate chopped up gun handling noises create a bed of creepy tension, procedural order and anxiety-producing expectancy. Good for suggesting the aura of violence, espionage/spy stories, investigations, or the feeling that this desolate place you're looking at was once the site of riots, outrage or a Panda Express.
  • 35.
    Hack The Planet-替代版-
    00:52
    Dark and scary. Slow, simple, repeated foreboding dissonant low piano sample broken up by heavy, distorted electronic drums and synth hits. Good for stalkers, nightmares and Horror.
  • 36.
    Airlock Failure-替代版-
    01:37
    Feel the fear. Atmospheric breaths of ultra-low metal friction and synths provide a respiration-like bed of foreboding and a fear-inducing sense of imminent doom, lurking danger or whales in gastric distress. Good for stalkers, aftermaths of destruction, seismic activity and Beano commercials.
  • 37.
    Terrifying Wonder-替代版-
    02:28
    Tension, mystery and implied martial-sounding tension/violence, created by multitudes of temporally-similarly-struck drums, boom whackers, tympani and other beatable objects. Oh, and synth "shrieking" @:57. Can't forget the shrieking. Several modular sections littered with hits make this good for battles, violence, disturbances and anytime the phrase "brute force" is used.
  • 38.
    Black Magnet Monolith-替代版-
    01:02
    A storm is coming. Like a growing tornado, this cut starts with an alarm-like bit-dithered Morse code-esque synth, then slowly adds layers of debris-like delayed metallics, huge toms, four-on-the-floor kick (@:21) and rhythmic organic rustling that all coalesce into a huge storm of turbulent chaos until a final hit @:43 calms everything back down to an eerie silence with a bed of just the stuttering synth at the end. Good for growing tension/fear/disruption, imminent violence or for proving that a wheat field in Kansas was a dumb place to open a glassware store.
  • 39.
    Multiple Perspectives-替代版-
    01:02
    Futuristic, clock-like, Club-friendly neutral bed that suggests famous Disco producer Giorgio Moroder is explaining the passage of time and that elevated blood pressure has left Giorgio nervous and shaky. Low synth swells, four-on-the-floor electronic kick, metallic ticks, vibrating/bouncing metals and swells of ghost-like voices (starting @:24) all work for suggesting technological tension, espionage/spy stories and watching a complex plot unfold.
  • 40.
    Buried Ancients-替代版-
    00:53
    A series of door slams/hits separated by a variety of loopable rhythmic beds ranging from pulsing, low-pitched throbs (@:03) to busy percussive organic/electronic hybrids (@:21). Well, not "ranging" - just those two, actually. Good for tense standoffs, the threat of impending violence and investigations.
  • 41.
    Arachnibots-替代版-
    01:16
    Vibrating, roar-like, resonating time-stretched organic hits create an insistent bed of slow pulsing that can only mean that you're most likely going to be murdered, investigated or that your failure to forward that Facebook "good luck" chain email has resulted in the death of your entire family. The sense of unease is increased with atmospheric metals, distant train horns and rhythmic wood/water sounds. Good for building suspense, tension or imminent, violent death.
  • 42.
    Airlock Failure-替代版-
    00:44
    Like a tornado in a Bed Bath and Beyond. Starts with moderately spare and atmospheric metallic stretching, rattling, fly-bys and bending that slowly morphs into a messy, violent and chaotic mÔøΩlange of string-like harmonics, arrhythmic hits, crashing metals, and scrapes culminating in a climactic hit @:29. Good for situations that spiral out of control, suggesting frenzied confusion, technology gone haywire or the world's worst, clumsiest guitar tuning.
  • 43.
    Machines Of War-替代版-
    01:41
    Attitudinal Urban Rap/Trap Club cut that uses ultra-dry drum machines, sliced metal hits, synth bass, a quirky snake-charming sinus-y lead synth and an alarm-like dithered synth (@:27) that, when combined, suggest prowess at sports, sex, and fighting.
  • 44.
    Hack The Planet-替代版-
    01:44
    Simple, lo-res, bit-dithered neutral-to-almost-positive Synth Pop, good for bringing to mind the passage of time, robots shopping and hold music if you called up the German Ministry of Tourism in the 1980s. Uses squelchy, delayed 8-bit synths, drum machines and synth bass.
  • 45.
    Terrifying Wonder-替代版-
    02:53
    Minimal tension, wonder and mystery that eventually gets maximal. Ethnically-vague stringed instruments mix with processed bells and gritty textures to create an atmosphere of foreboding, ticking drama that eventually develops into full-on, blowing-shit-up action. Echo-y footstep-like rhythms @:31 and :53 provide a foundation for other beats and assorted hits. Voices @1:35_bring back a more human element. Final build starts @2:02 if you're going straight for the big stuff. Good for trailer opens, military conflict/war, drama, mystery and mysticism.
  • 46.
    Arachnibots-替代版-
    01:12
    Neutral, Industrial/Hip Hop-tinged Techno-spy underscore that feels both futuristic and serious, like reporting a story on internet hacking or a corporate video about new suppository technology. Insistent and buzzy synths create a churning melodic bed against electronic drums/hi-hats and low, vibrating hits from the original track. Good for suggesting mild tension, growth or forward movement.
  • 47.
    Bending Time-替代版-
    01:03
    A cloud-like and uncertainty-filled bed of swirling metallic bells, glinting high-frequency sounds and various dissonant resonances. Good for suggesting mystery, wonder or that the ice cream man is tripping balls.
  • 48.
    Caverns-替代版-
    00:51
    Dangerous flatulence. A low, droning, groaning bed created by a solitary low wind/brass instrument that changes in pitch and tenor, with metallic atmospherics that rise in pitch starting @:38. Good for suggesting a dark, scary wasteland of fear/horror or the world's lowest-energy tuba solo ever.
  • 49.
    Derailment-替代版-
    01:03
    Clouds of reverbed metallic friction, screeches, distant train engines, Doppler-shifted horns and, @:34 a growing, rising metallic rattle that gets more in-your-face and threatening as it builds to a final climax @:54. Dark and mysterious in a noir-ish kind of way. Like "Thomas the Tank Engine has sown confusion and delay for the last time."
  • 50.
    Fear Nothing But Yourself-替代版-
    00:18
    Held notes of airy, shimmering strings begin to coalesce into a wavering, dissonant mass of about-to-explode string players. The climactic ending @:15 is bolstered by loud drums.
  • 1.
    Blinding Hatred
    00:47

    主版本-

    Nightmarish, shocking and disruptive, this cut is a series of episodic, non-sequitur-ish beds. Opening with a distorted scream and rumbling overdriven electrical sounds, this cut features a variety of rising/building beds of warbly electric current, buzzy static, electronic rumbles, time-stretched synths and water effects, each bed separated by intrusive, slamming drum hits. Good for Horror, technological disasters, having an iPhone/communications failure.
  • 2.
    My Machine Heart
    00:59

    主版本-

    Sure, it's a heartbeat - but from a giant heart, half wet and gushy-sounding organic and half mechanical, sitting in the middle of a room, beating slowly. And menacingly, because it's a fucking giant half-mechanical heart in a room. Various swells and crescendos throughout suggest the heart morphing into something even less appetizing and more electrical-sounding while the pulse begins to accelerate @:28. Good for tension, technological suspense and realizing how negative it is to say that someone has a "heart-shaped ass." Ugh.
  • 3.
    Vikings From Hell
    01:03

    主版本-

    Sound the alarm! This arresting and frightening cut portrays the rumble, clatter and din of a home invasion, if your home also happens to be an entire civilization. Modern meets ancient as horn blasts and war drums kick off episodes of looting and pillaging, later reinforced by pads of distorted undertones, low synth bass and metallic rhythms. Becomes more rhythmic @:30 with larger, more threatening drums and distortion. Good for historical conflict, plans gone wrong, murder, world domination, any naval battle with oars, or pretty much anything violent, ever.
  • 4.
    Bending Time
    01:55

    主版本-

    Like high frequencies? Not after this cut you won't. This horror/suspenseful cut is about things falling apart: from the initial crystal-clear, high-pitched bell at the top that slowly becomes irresolute and corrupted, to the atmospheric and uncertain atmospheric bell-scape @:20 that begins to crack and dissolve into sharp shards of useless adjectives. Filled with hits, mood changes and the sense that nothing is permanent, this cut works for lending a sense of uncertainty and corruption to something once-beautiful, suggesting that reality is breaking, you've suffered severe hearing loss or that ice-fishing during summer was a horrible idea.
  • 5.
    Everest Awakens
    00:45

    主版本-

    Pounding, dark warning that something is escaping - or coming in whether you want it or not. Powerful low-frequency hits against crumbling stone-like debris, suggesting the painful last steps up a mountain's face. The world's lowest-frequency string sound, metal/stone crackling, thumping drums, synths and an accelerating tempo make this cut perfect for break-ins, espionage, hacking, etc - anything that involves chipping away at something that either protects or impedes you. Good for investigations, montages of horrible images or visually crumbling titles.
  • 6.
    Oblivion Fuse
    01:25

    主版本-

    Tense construction and evolution of something moderately stressful and scary, like the Brutenskrivbord desk from Ikea. Atmospheric, reverbed and foreboding, this spare but hit-filled cut features string scrapes, wooden tension, acoustic drum hits, vibrating strings, low synths and friction swells suggesting tension, suspense and frustration as the desk instructions require a prehistoric hand tool (not included) and lingonberries. @:38 alarm-like string scrapes and wooden, clock-like ticking suggest fear, slow disintegration and that time (and patience) is running out.
  • 7.
    Machines Of War
    00:59

    主版本-

    Ever been beat up by an automated metal stamping machine? Really? You know you could've just run away, right? This brutal-sounding cut uses machine gun-like mechanical bursts to create disruptive episodes of metal-on-metal violence that are augmented by low synth bursts, distorted tones and delayed beds of metallic feedback. And random-ass hits. Tons of them. Good for violent confrontations, shocking scenes of violence, title reveals for shows about toughness and being repeatedly hit in the face.
  • 8.
    Synapse
    00:54

    主版本-

    Want to finally get rid of those weak-hearted viewers once and for all? Small, crumbling, insect-like beds of intimate, chittering organic-meets-technological/data-like sound design are broken by huge, large-scale disruptive, chair-staining percussive hits and horn-like blasts. A brief brittle and inhuman heartbeat-like rhythm @:31 is broken by a final blast @:45. Good for shocking images, technological surprises, crumbling communication networks and mechanical breakdowns.
  • 9.
    Derailment
    01:38

    主版本-

    Tired of subtle metaphors? This one will hit you like a bag of unripened kittens. Several suspenseful, menacing, terrifying builds resulting in explosive impacts - all utilizing train sounds: from the rhythm of their engines, to the metal scraping of the tracks/wheels, to the tapping of the furiously texting engineer. This cut is a variety of builds that start small and distant and grow bigger, more oppressive, threatening and busy until climaxes @:25, @:43, @1:05 and @1:25. Good for suggesting impending disaster, fear, tense stand-offs and being trampled. Repeatedly.
  • 10.
    Fear Nothing But Yourself
    00:59

    主版本-

    Periods of frenetic, violent disorienting percussive activity separated by moments of stunned silence. Starting with pounding, arrhythmically accelerating footstep-like wooden hits and rising dissonant strings that climax @:12, the cut then becomes a fever-dream-esque collage of low synths, banging, airy swells and general smashiness. Good for short, sporadic bouts of violence, investigations, or titles/opening montage for "When Percussionists Attack."
  • 11.
    Shift
    00:41

    主版本-

    Need to kick a spot into high gear? Maybe push it into overdrive? Then those of you overly-literal types will love this: mechanical shifting sounds precede a variety of explosive, frenetic and dynamic bursts of real/processed engine sounds, Doppler-shifted car drive-bys and accelerating/decelerating synth pulses that approximate a racecar wildly shifting between gears. Good for NASCAR, Formula One races, any quick change of scene, title animations and if there's ever a reality show about valet parking attendants.
  • 12.
    Caverns
    01:20

    主版本-

    A really clumsy cellist wants you dead. Groaning metal stress, low vibrating strings, low blown instruments and varieties of friction create a tense, foreboding atmospheric bed accented by thudding percussive hits. All of which start accelerating and rising in pitch towards a fake-out @1:03, with a final climactic hit @1:11. Good for dark creep-outs, being stalked by depressed baleen whales, images of desolation and Horror.
  • 13.
    Massacre
    00:39

    主版本-

    Foreplay for catastrophe. Planning a violent attack? Have a fascination with weaponry? Need to creep people out? This low-key, montage-like cut uses processed gun handling sounds (loading, being cocked, etc), low, thrumming radio noises and atmospheric metals to suggest impending violence or danger. Good for investigations, crime scenes or technological tension.
  • 14.
    Hack The Planet
    01:16

    主版本-

    It's 1980 and the computers have declared war. But since they only have 16Kb of memory and the computing power of a calculator, nobody notices. Dark, synthetic combat as suggested by bit-dithered/delayed synth hits, explosions, beds of rising tones, garbled time-shifted information and the dial-up modem of yore makes a brief cameo @:55 as tensions rise to a climax. Good for technological crises, evil video games, communication disasters and letting people know you've still got a Newton palm device.
  • 15.
    Airlock Failure
    01:30

    主版本-

    Slow, creepy and foreboding synthetic/technological breakdowns that ultimately result in death, or minor hearing loss if you're listening with earphones. A series of sharp, electricity-like blasts/failures and ultra-low-frequency "whale sighing" suggests when you built your space station, the lowest bidder might've been a bad choice. Low, shifting, breath-like tones @:33 suggest a dark, unpleasant situation, made more threatening and unpleasant by skittering metallics and more electrical disruptions. Good for internet terrors, astronaut nightmares and that "Lowest Bidder Inc" is a horrible name for a company.
  • 16.
    Terrifying Wonder
    02:38

    主版本-

    Total astonishment morphs into abject terror, littered with intense trailer action/drama and minor pants-wetting throughout. Begins mystical and mysterious with low percussion, buzzy low synths, voices, wind chimes and suspended metals suggesting imminent danger and tension. @:36 fear and panic arrive as you're assaulted by waves of huge, pounding taiko-esque drums, synth "shrieks," an epileptic bell tree player and the general feeling of destruction and violence. A rise begins @1:28 featuring percussion, dissonant synths/choirs and churning low earthquake-like rumbling, all building in tenor and pitch until the final hit @2:13. A mysterious, wind-blasted ambient vocal coda @2:18 adds a bed of stunned, atmospheric aftermath. Good for violent confrontations, Horror, tense standoffs and battles between good and evil.
  • 17.
    Black Magnet Monolith
    01:02

    主版本-

    Nightmarish, violent attacks amidst beds of various desolate soundscapes and builds. Episodic, slamming, percussive, arresting hits create "WAKE THE HELL UP" moments throughout a bed of delayed Morse code-like sine synths, low rumbling builds and other backgrounds, some small and neutral, but later getting more oppressive and chaotic, like the brief but insane metal avalanche @:36. Good for crime scenes, jump-scare horror and frightening the pants off people (hopefully attractive ones).
  • 18.
    Multiple Perspectives
    00:39

    主版本-

    Vibrating, dreamlike, ultra-sharp metallic/glass that changes in speed, distance from the listener, and pitch, creating a hallucinatory experience that suggests a sporadically and randomly changing environment. Good for suggesting drug trips, morphing graphics and confusing an entire month's worth of pain medication for a handful of M&Ms, making your hand and mouth melt in your mind.
  • 19.
    Buried Ancients
    00:51

    主版本-

    Creepy and suspenseful series of doors opening and closing with dark consequences, but surprisingly few crushed fingers. Creepy and mysterious with eerie synth-like voices, airy whooshes, mechanical underpinnings and strangely enough, train sounds (@:20). A series of short, tense builds appropriate for Horror, jump-scare frights, Halloween and trying to find your way out of a door store.
  • 20.
    Arachnibots
    00:52

    主版本-

    Being stalked? Haunted by frightening visions? Dressed like a eucalyptus leaf at a hungry koala convention? Imagine you're trapped in a web, with a giant spider slowly approaching, its footsteps resonating against the fibrous tendrils. Creepy, suspenseful, foreboding and slow, this cut uses time-stretched organic/digital stamp-like "footstep" hits to punctuate a bed of rattling, atmospheric wooden/rainstick-like movement. The hits begin to accelerate @:28. Good for crime scenes, slow montages of disturbing images or simulating the ominous and foreboding tolling of a bell - without the bell.
  • 21.
    Blinding Hatred
    01:59

    替代版-

    Suspenseful technological horror. Starting small and spare, this fear-inspiring, scary rhythmic bed builds from distant electronic, heartbeat-like pulses, a thin sheen of synth pads, falling synth "screams" and electronic sound design to a more present, in-your face shuddering bed of tension @1:07. Good for impending technological disasters, hacking and any new iOS release.
  • 22.
    My Machine Heart
    01:11

    替代版-

    It's a heartbeat. Seriously, this should surprise no one that there's a rhythmic version. Pulsing, low-pitched synthetic electrical sounds, combined with the muted contractions of a heart, that grow more present and upfront. Pretty similar to the MAIN version except longer. Good for tension and suggesting things are getting worse.
  • 23.
    Vikings From Hell
    01:26

    替代版-

    Dark, distorted stop/start bed of building tension broken by explosive alarm-like claxons and organic percussive interludes. @:22, a new stop/start rhythm bed develops, gradually adding layers of fire and brimstone - which incidentally make for a terrible kitchen countertop. The hits accelerate @1:13. Evil, foreboding and ugly - perfect for impending doom and disaster, appropriate for end-of-the-world-level conflicts, violent sports, and a slide-projector-esque montage of horrible images.
  • 24.
    Bending Time
    01:05

    替代版-

    Clock-like and measured, this cut suggests building tension, time passing or somebody's got nervous fingers. Starting with an electric zap, this cut features high-frequency bells, percussive metallics and various loopable rhythms, starting small and intimate, but progressively getting more complex and nervous-feeling @:25. Grows bigger and more expansive towards the end, building to an electricity-filled hit @:59.
  • 25.
    Everest Awakens
    01:07

    替代版-

    Repeating stabs of ultra-low cello/bass act as a foreboding, alarm-like warning that something dangerous is coming or that you have the most depressing ring tone ever. The low stabs change character throughout, adding metallic scrapes, stone debris and insistent, pounding drums which begin to accelerate to a climax @:51. Good for a series of disturbing images, slow dissolves, grabbing people's attention and suggesting a breach of security or defense.
  • 26.
    Oblivion Fuse
    02:05

    替代版-

    Time is running out. Both figuratively (as the piece suggests) and literally for the poor Chinese stringed Guzheng we hit, scraped, plucked, dropped, sued, disemboweled, spoke badly of, set fire to and then fed its remains to our intern. This slow, methodical cut uses a variety of wooden ticking hits, string scrapes, stamps, and electronic drum machine sounds to suggest bombs are about to go off, something bad is imminent and tension is building, especially for Charlie, who lent us his guzheng.
  • 27.
    Machines Of War
    00:36

    替代版-

    Technological mystery becomes violence. Starts with an almost-relaxing bed of sterile, delayed mechanical ticking that suggests time passing, desolation or computer-like activity until the onslaught of hits begin. First we're hit with harsh stabs of scraping metal and low synths @:13, then a relentless onslaught of machine-like stamping @:26. Good for fast cutting, technological/internet disasters and Thoreau's Walden if it were suddenly interrupted by an axe-wielding maniac.
  • 28.
    Synapse
    01:46

    替代版-

    Dark, slightly sinister sense of time passing with a technological bent. An artificial-sounding bed of pulsing, bit-dithered and crunchy static provides a bed as mechanical, insect-like skittering, ticking, synth bass and heartbeat-like acoustic/electronic kick enter @:13, littered with various washes of buzzy synths. Provides a variety of mix variations from spare to complex, but all suggesting an evil clock, an internet-destroying bomb about to go off or that Kraftwerk really has lost their shit.
  • 29.
    Derailment
    01:12

    替代版-

    Building suspense and tension via pitch-shifting beds of complex and busy train engine sounds and throbbing low frequencies, all ending in climactic percussive/metallic hits @:24, @:53 and @1:05. Good for quick cutting, suggesting an impending riot or a violent showdown.
  • 30.
    Derailment
    01:10

    替代版-

    Need to suggest industrious growth or the evolution of something complex? This forward-moving percussive bed of edited train-sourced thumps and clanks combines a sense of constant activity with pass-bys and slightly subtle train-oriented sound design. Starts with blasts of train horns for that extra "all-aboard" feel.
  • 31.
    Fear Nothing But Yourself
    01:54

    替代版-

    Straddling the line between tough and neutrally informational, this mid-tempo bed of straightforward electronic/organic drums progressively grows slightly more complex and driving, but still remains background-friendly. With added movement provided by delayed synths and some tension @1:28 introduced by a dissonant metallic/string swell that builds to a climactic hit @1:39. Good for investigations, something is coming to rough you up or just suggesting that a mildly angry clock is telling you time is passing.
  • 32.
    Shift
    00:55

    替代版-

    Technological progress and dissolution. This neutral-to-positive, mid-tempo cut uses grinding, high-frequency synth-like friction, pulsing synth ostinatos, airy synth pads, delayed shaken percussion and processed electronic drums to create a bed of sterile activity that grows in complexity throughout. It experiences a breakdown/failure @:17, recovers, then slowly becomes more arrhythmic and falls apart @:43. Good for suggesting internet connectivity, communication (and its breakdown) and informational exchanges.
  • 33.
    Caverns
    01:48

    替代版-

    Something bad is going to happen. Something incredibly organized and not terribly surprising, but scary nonetheless. Measured (okay, slow) puffs of low, blatty brass/synths are creating a variety of dangerous-sounding alarm-like beds, augmented by friction-like "cries" and martial-sounding drums that vary in density and activity. A final, big drum/low pulsing bed starts @1:03 and grows bigger and more threatening until it anti-climaxes @1:39. Good for tense buildups and impending disaster.
  • 34.
    Massacre
    00:52

    替代版-

    A bed of rhythmic radio hum is made musical while distorted, distant hits, electronic percussion, ultra-subtle crowd chants and intimate chopped up gun handling noises create a bed of creepy tension, procedural order and anxiety-producing expectancy. Good for suggesting the aura of violence, espionage/spy stories, investigations, or the feeling that this desolate place you're looking at was once the site of riots, outrage or a Panda Express.
  • 35.
    Hack The Planet
    00:52

    替代版-

    Dark and scary. Slow, simple, repeated foreboding dissonant low piano sample broken up by heavy, distorted electronic drums and synth hits. Good for stalkers, nightmares and Horror.
  • 36.
    Airlock Failure
    01:37

    替代版-

    Feel the fear. Atmospheric breaths of ultra-low metal friction and synths provide a respiration-like bed of foreboding and a fear-inducing sense of imminent doom, lurking danger or whales in gastric distress. Good for stalkers, aftermaths of destruction, seismic activity and Beano commercials.
  • 37.
    Terrifying Wonder
    02:28

    替代版-

    Tension, mystery and implied martial-sounding tension/violence, created by multitudes of temporally-similarly-struck drums, boom whackers, tympani and other beatable objects. Oh, and synth "shrieking" @:57. Can't forget the shrieking. Several modular sections littered with hits make this good for battles, violence, disturbances and anytime the phrase "brute force" is used.
  • 38.
    Black Magnet Monolith
    01:02

    替代版-

    A storm is coming. Like a growing tornado, this cut starts with an alarm-like bit-dithered Morse code-esque synth, then slowly adds layers of debris-like delayed metallics, huge toms, four-on-the-floor kick (@:21) and rhythmic organic rustling that all coalesce into a huge storm of turbulent chaos until a final hit @:43 calms everything back down to an eerie silence with a bed of just the stuttering synth at the end. Good for growing tension/fear/disruption, imminent violence or for proving that a wheat field in Kansas was a dumb place to open a glassware store.
  • 39.
    Multiple Perspectives
    01:02

    替代版-

    Futuristic, clock-like, Club-friendly neutral bed that suggests famous Disco producer Giorgio Moroder is explaining the passage of time and that elevated blood pressure has left Giorgio nervous and shaky. Low synth swells, four-on-the-floor electronic kick, metallic ticks, vibrating/bouncing metals and swells of ghost-like voices (starting @:24) all work for suggesting technological tension, espionage/spy stories and watching a complex plot unfold.
  • 40.
    Buried Ancients
    00:53

    替代版-

    A series of door slams/hits separated by a variety of loopable rhythmic beds ranging from pulsing, low-pitched throbs (@:03) to busy percussive organic/electronic hybrids (@:21). Well, not "ranging" - just those two, actually. Good for tense standoffs, the threat of impending violence and investigations.
  • 41.
    Arachnibots
    01:16

    替代版-

    Vibrating, roar-like, resonating time-stretched organic hits create an insistent bed of slow pulsing that can only mean that you're most likely going to be murdered, investigated or that your failure to forward that Facebook "good luck" chain email has resulted in the death of your entire family. The sense of unease is increased with atmospheric metals, distant train horns and rhythmic wood/water sounds. Good for building suspense, tension or imminent, violent death.
  • 42.
    Airlock Failure
    00:44

    替代版-

    Like a tornado in a Bed Bath and Beyond. Starts with moderately spare and atmospheric metallic stretching, rattling, fly-bys and bending that slowly morphs into a messy, violent and chaotic mÔøΩlange of string-like harmonics, arrhythmic hits, crashing metals, and scrapes culminating in a climactic hit @:29. Good for situations that spiral out of control, suggesting frenzied confusion, technology gone haywire or the world's worst, clumsiest guitar tuning.
  • 43.
    Machines Of War
    01:41

    替代版-

    Attitudinal Urban Rap/Trap Club cut that uses ultra-dry drum machines, sliced metal hits, synth bass, a quirky snake-charming sinus-y lead synth and an alarm-like dithered synth (@:27) that, when combined, suggest prowess at sports, sex, and fighting.
  • 44.
    Hack The Planet
    01:44

    替代版-

    Simple, lo-res, bit-dithered neutral-to-almost-positive Synth Pop, good for bringing to mind the passage of time, robots shopping and hold music if you called up the German Ministry of Tourism in the 1980s. Uses squelchy, delayed 8-bit synths, drum machines and synth bass.
  • 45.
    Terrifying Wonder
    02:53

    替代版-

    Minimal tension, wonder and mystery that eventually gets maximal. Ethnically-vague stringed instruments mix with processed bells and gritty textures to create an atmosphere of foreboding, ticking drama that eventually develops into full-on, blowing-shit-up action. Echo-y footstep-like rhythms @:31 and :53 provide a foundation for other beats and assorted hits. Voices @1:35_bring back a more human element. Final build starts @2:02 if you're going straight for the big stuff. Good for trailer opens, military conflict/war, drama, mystery and mysticism.
  • 46.
    Arachnibots
    01:12

    替代版-

    Neutral, Industrial/Hip Hop-tinged Techno-spy underscore that feels both futuristic and serious, like reporting a story on internet hacking or a corporate video about new suppository technology. Insistent and buzzy synths create a churning melodic bed against electronic drums/hi-hats and low, vibrating hits from the original track. Good for suggesting mild tension, growth or forward movement.
  • 47.
    Bending Time
    01:03

    替代版-

    A cloud-like and uncertainty-filled bed of swirling metallic bells, glinting high-frequency sounds and various dissonant resonances. Good for suggesting mystery, wonder or that the ice cream man is tripping balls.
  • 48.
    Caverns
    00:51

    替代版-

    Dangerous flatulence. A low, droning, groaning bed created by a solitary low wind/brass instrument that changes in pitch and tenor, with metallic atmospherics that rise in pitch starting @:38. Good for suggesting a dark, scary wasteland of fear/horror or the world's lowest-energy tuba solo ever.
  • 49.
    Derailment
    01:03

    替代版-

    Clouds of reverbed metallic friction, screeches, distant train engines, Doppler-shifted horns and, @:34 a growing, rising metallic rattle that gets more in-your-face and threatening as it builds to a final climax @:54. Dark and mysterious in a noir-ish kind of way. Like "Thomas the Tank Engine has sown confusion and delay for the last time."
  • 50.
    Fear Nothing But Yourself
    00:18

    替代版-

    Held notes of airy, shimmering strings begin to coalesce into a wavering, dissonant mass of about-to-explode string players. The climactic ending @:15 is bolstered by loud drums.