Sound Particles - 3D Sound Design Software
The ultimate immersive sound design software. Create thousands of sound in a virtual 3D world with a CGI-like software.
Sound Particles is a CGI-like software for Sound Design, capable of using particle systems to generate thousands of sounds in a virtual 3D world. Particle Systems are a common tool used in computer graphics and VFX to
create fuzzy/shapeless objects like fire, rain, dust or smoke. Instead
of animating all individual points (water drops, grains of dust or
smoke), the user creates a particle system, an entity that is
responsible for the creation and management of thousands of small
Sound Particles uses the same concept, but for
audio: each particle represents a sound source (instead of a 3D object)
and a virtual microphone captures the virtual sound of the particles
(instead of the virtual CGI camera).
Sound Particles is currently under tests on major "Hollywood" studios, such as Skywalker Sound, Warner Bros, Universal, Technicolor, Sony, Fox, Formosa, Pinewood, Park Road Post.
Sound Particles Key Features
- Huge Sound - Up to millions of sound sources playing at the same time.
- Immersive Formats - Support for several multichannel formats, including immersive audio.
- Audio Modifiers - Use random effects to make sure each particle sounds different from any other particle (gain, delay, EQ, pitch/speed, granular).
- Movement - Use automation or movement modifiers to move sound sources and microphones.
- Video - Import reference clips and see the particles moving on top of the image, obtaining a perfect time and space coherence.
- Sound Propagation - Control the propagation of air (speed of sound, air attenuation, Doppler).
- 3D Views - See what is happening, using the fantastic 3D views (top, front, perspective, etc.).
- Granular Synthesis - Use our optional granular audio modifier, and use particles to reproduce small audio fragments of original audio files.
The Battlefield example
Imagine that you want to create the sound of a battlefield
with Sound Particles. You could create 10.000 particles (sound sources),
spread over a square mile, pick 50 war-related sounds from your sound
library and render the entire scene with a virtual microphone (5.1,
Dolby Atmos 9.1 bed, etc.).
Each particle would randomly select of your
war-related sounds for reproduction, which means that some particles
would reproduce the 1st audio files, other particles would reproduce the
2nd audio files, and so on. Also, each particle (sound source) would be
positioned randomly on a square with a length of 1 mile.
To obtain more interesting results, movement
modifiers and audio modifiers could be added to the particles. Movement
modifiers add movement to the particles. Audio modifiers apply random
audio effects to each particle, ranging from simple things like random
gains and delays, to more complex effects like random EQ or time/pitch
The virtual microphone will be responsible
for capturing the virtual sound of the scene. Based on the position of
the microphone, its direction and the position of all particles, the
sound of all particles is captured, taking into consideration things
like propagation attenuation, speed of sound, Doppler effect, etc..
Since the software has detailed information about everything, the
microphone can capture the sound for different formats, ranging from
mono or stereo, to 5.1 or even immersive formats.