Tunary Instruments Releases Cinematic Soundscape Collection

via Tunary Instruments

THREE INSTRUMENTS FOR SCORING SPACE, TEXTURE & MOOD

Deep drones, sculpted grains and self-playing glacial beds. Three sound-design instruments made for film, games and ambient music — the sound under a scene, not the tune on top. Buy one, or take all three.

Additional details on each:

VRESK — Drone, Texture & SFX Engine

VRESK holds one sound and lets you move through it.

A drone, texture and sound-design engine: nine different machines under one set of hands, with two reverb spaces built in. Turn the big ROOT knob and the whole voice moves. Everything else colours it.

Nine engines on a 3 by 3 grid. Two oscillators for rings, folds and hard metal. Four wavetable voices for stacks, swarms and crushed digital. Eight partials for beating clusters, quantised chords and noise-struck metal. The knobs stay the same across all nine, and each engine reads them differently, so one panel is really nine instruments.

One big knob does most of the work: ROOT sets the pitch of the whole voice, from a sub rumble to a scream.

Nine algorithms, three families: PAIR, BANK and CLUSTER, three characters each.

Two spaces at the end: IRON, a hard metallic comb, and VEIL, a soft diffuse cloud.


CAST reseeds everything: the same patch becomes a whole family of variants, all repeatable.

Runs external audio through its own voice: tilt, drive and space on anything you feed it. (Not in Pro Tools.)

A drone by default, or gate it from MIDI. FREE plays itself; MIDI switches it on and sets the pitch.

SOUND switch: silence and bring it back with no click, the reverb tail carrying on underneath.

Twenty-one presets to start from, two per engine.

Part of the Tunary cinematic soundscape collection. Made for film, games and anywhere a scene needs a room tone, a texture bed, or a sound that is not quite music.

DRUSK — Sculpting Sampler

DRUSK turns any sample into music.

A four-track sculpting sampler. Drop a sound on a track and DRUSK works out what it is (a bass, a hit, a texture, a voice), casts it into a part, and writes a piece around it: a bass line locked to the beat, a melody that answers it, drums that fit, chords underneath. Every note lands in key. Push the COMPOSER slider the other way and it becomes a hands-on granular sampler where you sculpt every grain yourself.

Four tracks, each with its own device chain. SOURCE: step sequencer, tape spool, play-through or MIDI keys. DUST: the granular engine, with seek, drift, grain, flow, bloom, scatter, warp and chaos. FORM: a filter that morphs into a tuned resonator bank. GRIT: drive, tilt, crush, squash and noise. AIR: reverb, plus a shared tape, digital or dub echo with freeze. MOTION: four modulators per track (cycle, dice, trace, shape); arm one, then click any knob to wire it.

Drop a sample, get a piece. The composer scores every sample, picks the key it lives in, and writes bass, melody, drums and pads that answer each other.

A critic listens before you do. Only the best of dozens of rolls plays, and no two rolls come out the same.

PERFORM: eight macros that sweep one parameter across all four tracks, four punch effects (dive, stall, reverse, flood) that fire for a beat or for as long as you hold, and eight scenes that each hold a whole arrangement.

Locks to your DAW. Press play in the host and DRUSK plays in time, bar for bar.

Three example sounds load on first run, so it makes music before you have dropped anything.

NIVREN — Glacial Ensemble

NIVREN plays the ice while you play the keys.

An ambient ensemble: eight glacial voices on one keyboard, and three of them play themselves. Hold a chord and the ice sheet, glass choir and sub floe answer. Underneath, sonar, hydrophone and snow field drift on their own, locked to your session's tempo.

Eight voices, each its own instrument. Five you play: ICE SHEET, GLASS CHOIR, SUB FLOE, BOWED METAL and SHARDS. Three that play themselves: SONAR pings, HYDROPHONE crackle and SNOW FIELD gusts. Every voice has its own channel, level, pan and reverb send, so the ensemble sits together as one bed or splits into eight parts.

• One keyboard, eight voices. OMNI lets every voice answer every note; in AU and VST3, MULTI gives each voice its own MIDI channel so a DAW can drive all eight separately and remix them.

• The self-playing voices run on their own, locked to host tempo and seeded, so the same bar plays the same way every time.

• MASS, FIELD, DRIFT and DEPTH shape the whole ensemble: output, stereo placement, transpose and reverb depth.

• A SHAPE page of eight macros: BLOOM, FADE, GLASS, SPREAD, FLUX, CAVERN, PULSE and DENSITY.

• The generative voices send MIDI out on their own channels, so you can capture sonar, hydrophone and snow as real notes and CC.

• Drop a WAV on any voice to sample it, and play your own sound through the ensemble.

• Twelve scenes to start from, from Under the Ice Shelf to Whiteout.

• Every stock voice is generated live. Nothing is a loop or a sample library.

Part of the Tunary cinematic soundscape collection. Made for film, games and anywhere a scene needs a cold room tone, a slow bed, or a sound that sits just under the music.

Formats

macOS has AU, VST3, AAX and a Standalone app (Universal, Apple Silicon and Intel). Signed and notarised by Apple, so it installs clean with no warnings.

MULTI's per-channel routing works in AU and VST3 (Logic, Live, Cubase). In Pro Tools, NIVREN plays in OMNI. AAX is Mac only and arrives in the Mac installer; put NIVREN on an Instrument track.