Twisted Tools Intros Binary Windows User Interface Sound Design Toolkit


Twisted Tools has released Binary Windows, a user interface sound design toolkit designed for multi-media sound editors, application developers and anyone needing ‘high-tech’ sound effect elements.

Here’s an audio introduction to Binary Windows:

Binary Windows comes bundled with both unprocessed and designed sounds, so it will work for sound designers interested in creating custom sound effects or application developers looking to quickly add a finished sound into their product.

Also included is an Expansion Pack for Twisted Tools *S-LAYER. When combined with S-LAYER, the Binary Windows sample library allows you to generate new sound effects, using S-LAYER’s sample layering and randomization engine.

Here’s the official video intro:

Binary Windows is available now via Twisted Tools for US $69. Through Dec 1, 2014, Twisted Tools is offering 30% off all items.

10 thoughts on “Twisted Tools Intros Binary Windows User Interface Sound Design Toolkit

  1. Without wishing to judge, can someone explain the point of these things to me? If your just playing around with other people designed samples, how are you a composer? Surely you are quite literally an “arranger”? Are these not simply the sound design equivalents of synth presets?

    1. Some people find it fun to play with these sounds and arn’t necessarily concerned with what they are labeled… composer, arranger, poser etc… its for fun. Or a starting point for some inspiration. Music isnt always a competition or about bragging rights.

  2. Sooo, Mozart should have built unique instruments to have been considered a composer?

    But more seriously; Samples like these are for people who wish to use such sounds (even if only as building blocks in larger chains of processing and designing), without having to create the entire sound from scratch. Or for people who use libraries like these for inspiration. Or for people who simply wish to support certain sound designers or companies. Or for those who wish to use the Reaktor-ensemble. Or… and the list goes on.
    That doesn’t make those who use such sounds any less composers, even if they are the sound design equivalent of synth presets. (Which I do not consider to necessarily be a bad thing, although that is a entirely different debate).

    1. Aaand of course I managed to forget to click the reply-button beneath Devilwidget’s comment where s/he implied (albeit not necessarily in a negative way) that using samples makes somebody any less of a composer.

    2. not that i have a problem with what anyone uses, but this seems more like mozart paying someone to make a bunch of “wacky” instruments, without specifying what he wanted not of using “preset” orchestra sounds, i think.

      i mean, i think the difference is that using more “standardized” sounds from a “limited” pool like classical composers did, made it so that they could get people that were skilled enough able to articulate their compositional ideas and they were supremely familiar with how the instruments could be used to pull off their compositional ideas.

      just saying i’d find it a lot harder to compose with sounds other people made (unless i sample it because it speaks to me in some way 🙂 ) because i lack the familiarity and the controls to articulate them well. it’s the same reason i’d rather stick with synth/sampler for a long time instead of getting every new thing that comes about.

  3. Thanks for the response! I really wasn’t meaning to negatively imply anything, its more a question of not understanding what things like this are for – especially ones like this that seems to aim at a professional market. And I don’t mean to suggest someone who uses these things is ‘less’ of a composer, but rather am wondering if they are not actually composers at all, but arrangers (since the temporal arrangement of sounds that someone else has designed seem to be a literal job description of this). It seems very strange to me that a (lets say) film-score could actually be composed by one person, but the sounds used – however memorable and unique – might be designed by another. Would this not lead to a situation where two (let’s say) film scores have exactly the same sound, only with a differing arrangement? It just seems a peculiar out-sourcing of a intimate part of the compositional process, especially since this history of electronic music (and this is surely closer to that than sampling culture, wherein sounds are chosen often precisely because of the relationship they hold in regard to an existing composition) is all about the manipulation of sonic materials as composition, sound-design as a core compositional element.
    I am aware I am sort of rambling, its just as someone who has been working for a while as a sound-designer / composer, it seems very odd to me that someone could just buy a tool to do literally half of that work, conceptually and physically.

  4. To suggest that an artist who temporally arranges sounds he didn’t himself create isn’t a composer seems very odd to me. If I write out a musical score for traditional classical instrumentation, I’m surely composing, no? I might even be tempted to play devil’s advocate and say that composition is essentially the temporal arrangement of sound and that the sound source–be it a traditional instrument, a synth, or a sample–isn’t a deciding factor in who is or isn’t a composer at all.

    This sound library, a “user inferface” library, seems primarily aimed at people working in the gaming and film industry, and at musicians secondarily. In film sound editing and game design, there may be more of an interest in grabbing a sample that “just works” in a particular scene or context as opposed to going down the rabbit hole of sound design from scratch.

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