The Sonic Originality of Soundbake

The Sonic Originality of Soundbake

Aug 26, 2021, 10:15:15 AM Entertainment

 In today’s musical environment, technical prowess has reached an unprecedented level. While amazing, this serves to highlight that true musical genius is the product of composers and the unique approaches which they possess. To fuel and channel this was the goal of the creators of Soundbake, the music software sample instrument company created by Thomas Eggensberger and Kirsten Evans. Set for release in late 2021 and available through Native Instruments Native Access, Soundbake was recently praised in a glowing article by Sound on Sound music magazine for its offering of “Fractured Strings” and “Broken Strings”, which steeps itself in an uncommon approach to arrive at a highly creative destination for the modern composer. While so many music libraries attempt to capitalize on current trends, Soundbake carves out its own path to maximize originality. Soundbake’s embrace of the human element, both in the musician and the composer, is a reminder that the individuality of the creator is paramount when it comes to being memorable.



Soundbake's Thomas Eggensberger


Originality with an intuitive ease in playing is the ethos of Soundbake’s creators. Soundbake rebukes predetermined loops in preference for a system that empowers and encourages composers to create music quickly whilst guaranteeing the sounds they make will be totally unique and intriguing. Composer/orchestrator and Soundbake CEO Thomas Eggensberger communicates, “Soundbake has a very approachable and accessible personality, valuing true collaboration with interesting musicians and ensembles, whilst not being afraid to ‘have fun with it’. I mean, our Company’s name is Soundbake. We ‘bake’ sound. Creating these interesting textural sound libraries is our way of ‘baking’ and our products consist of many different ‘ingredients’ such as the sound sources themselves - the musicians - as well as the many other aspects of the user interface, its effects, manipulation, and playing possibilities.” Soundbake utilizes a process referred to as “dynamic orchestration” which allows users to alter the contained unique playing techniques in a way that would be impossible for real world musicians and ensembles. The results are ground breaking in terms of what is achievable for composers. This approach combined with ease-of-use establishes a higher beginning plateau for Soundbake users. 


  In addition to Eggensberger’s own musical contributions to the Soundbake library, he and Kirsten Evans utilized accomplished musicians from around the globe, focusing on ‘non-traditional’ playing techniques. These include English cellist Isobelle Austin, American composers/multi-instrumentalists Jack Druffel and Brandon C Stanley, and Portuguese multi-percussionist Diogo Gomes. The value the company places on the chemistry created between musician and composer is evident as Thomas relates, “Kirsten and I decided early on that our approach of creating cinematic software instrument tools was going to be a more textural approach. In our own music it has always been important to create musical textures by recording unusual playing techniques on a variety of instruments that haven’t been captured in that way before. We both really enjoy working with a variety of musicians and having them play techniques that are uncommon, seldom used, and that lend themselves to creating intriguing, boutique and unique musical textures which drive our music.” Known for his work with luminaries such as the Oscar Nominated Composer Jóhann Jóhannsson, Mr. Eggensberger’s own experience as a lauded composer fueled his insight for the need of a tool such as Soundbake which focuses on the cinematic textural side of playing techniques. The intentional method of having the contributing performers concentrate on playing techniques that are rarely heard or played and capturing them in a creative way, sets Soundbake apart from all peers. The composer’s color palette is immensely expanded even before their own personal manipulation of these sounds begins. Testifying that they are equally supportive of musicians whom have contributed to the Soundbake library, the company has integrated the personal information of said musicians into the interface as well as including them in a percentage of sales, thus providing a passive revenue stream for them. This awareness of a need for all artists to benefit is within the very DNA of Soundbake and indicates yet another reason the company’s offering continues to rise in popularity. Eggensberger reveals, “As composers ourselves, we love the process of collaboration and having fun with this process. It is important to us that Soundbake is ‘fun’ and that it makes people want to create new types of music, creating a new wave of sound, and enabling a new generation of media composers to emerge.” Soundbake is currently in the middle of pre-production of 14 sample libraries that are being released in 2022.


Writer: Sharon Howe

Published by Prashant M

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