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Pulse is a revolutionary new downloader offering blazing fast speeds and powerful control over your libraries. Loot Audio uses Pulse to power some of our downloads and to make managing your libraries more efficient for you.
After your purchase we will send you a unique code (you will also find the code in your account). Use the code with Pulse to power your download and installation. More information about Pulse can be found here.
What are Credits?
You earn Credits every time you purchase a product from Loot Audio. 3% of your order is added to your account in the form of Credits.
Use Credits for money off future orders or convert them to Sample Credits to download samples from the Sounds section of the site.
A playground of unique hybrid instruments.
$149.00
Earn 447
Note: This product is compatible with Kontakt Full 5.6.8 and above
Plastic Ghost Piano
The Plastic Ghost Piano, a Spitfire favourite, is a strange, beautiful, analogue sounding hybrid piano, made by pushing bursts of controlled noise through unsuspecting piano samples. Warm and richly sampled, oozing character and endless sonic possibilities, there really is nothing else quite like it. Sounds range from woody and expressive acoustic piano to a soft, gorgeous felt piano, paired with ambient, otherworldly sounds, recorded as convolutions.
Grand Thrift AutoHarp²
Grand Thrift AutoHarp² is what happens when you mate a tiny autoharp with a huge binaural plucked grand piano. A strange hybrid instrument, with four separate and individually adjustable layers of multi-velocity samples from every note of both instruments, recorded binaurally, with a pick and a mute, creating unique piano-like, plucky sounds. With multiple effects on the pluck, it really shakes the room.
Dulcitone 1884²
This rare instrument is the world’s first multi-sampled 134 year old Dulcitone, and was the very first Sound Dust instrument. A woody, clonky sound reminiscent of a celeste, but more metallic sounding, with added octaves added to take it beyond what a normal Dulcitone can do.
Dulcitone1900²
Originally designed and manufactured in Scotland in the 1800s, there are allegedly only 2000 Dulcitones left in existence. This is the younger sister of the Dulcitone1884², a delicate beauty with a more bell-like, even tone, complimenting the woody clunk of the 1884 version. A bit like an acoustic version of the Fender Rhodes electric piano it has seven velocity layers of binaural recording.
Ghost Dulcitone 1900
A creation of haunting beauty. Sound Dust have taken multisampling impulse responses and experiments originally used to create the Plastic Ghost Piano, and applied their nifty digital witchcraft to a rare collection of Dulcitones. Individual recordings of notes demonically convolved and fed with white noise to create the ghostly tone, layered with a roomy multi-sampled Nord electric piano, recorded binaurally for added depth and body. Think Danny Elfman’s The Night Before Christmas.
Hammr +
Some may argue that another sampled Hammond is the last thing we need, and they’d be right, but the Hammr+ is different. Of course, it oozes classic character and has all the capabilities you'd expect of the famous drawbar organ, but in true Sound Dust style, it surpasses the limitations of the original. In taking advantage of sampling technology, bespoke Kontakt architecture, on top of a bit of imagination, Pendle has created sounds inconceivable to the creator of the original instrument.
Pendle is based at The Toy Rooms Studio in Brighton, UK, a breeding ground for interesting British sounds. This studio complex is a hub of renowned musicians, producers and film composers such as UNKLE, Gomez, Orbital, Nick Cave and Jed Kurzel, surrounded by a multitude of rare instruments and equipment. Pendle has been obsessed with strange sounds for as long as he can remember. He started out by playing guitar in Rough Trade signed art-pop band Butterfly Child and then started working on sound and art installations, including a permanent sound installation for the National Trust at Avebury Manor. He also worked for 10 years as sound designer and composer for award-winning
theatre company DreamThinkSpeak, and has written and produced scores for the BBC and many other TV stations in the UK and beyond. For Sound Dust, Pendle mostly works alone, as he prefers to see a project through from start to finish, with laser-sharp attention to detail. “The whole Sound Dust thing started by accident. I bought a beautiful old Dulcitone off eBay... it was kind of knackered and I couldn’t really play it, so I decided to sample it. I then started selling the samples which to my surprise was amazingly popular and it all grew from there. Had I not started with the Dulcitone, Sound Dust wouldn’t be what it is today. Sound Dust is essentially me indulging my desire to make funny noises.”
In creating a Sound Dust library, Pendle does not limit himself to one type of sound or instrument — the only requirements are that it makes an interesting noise and that he can create something with it that hasn’t been heard before. As a sound designer who delights in the alternative and unexpected, he wants anything but the industry standard.
His process is far from formulaic — sometimes he will obsess over a certain type of sound and try to create it, but most of the time, what sparks his imagination is chancing upon an interesting instrument or combination of instruments, or discovering a new way of recording something. “The process usually starts with a ‘What If?’ moment. If I do this, what will happen? I’m driven by the idea that something will do something that something else doesn’t already do, or do it better. It really feeds the part of the brain that I enjoy the most. Often an idea will start as one thing and then go to
an entirely unexpected place. I don’t know what I’m doing month to month, and that’s kind of exciting. The essence of Sound Dust is, you’re never sure what you’re gonna get!” Pendle injects his personality and eclectic taste into his instruments, from his unconventional recording process, down to the naming of each Sound Dust offspring.
"If I’m not happy with a name for something, I can’t release it." He describes his process as more mechanical than digital. “I’ve used various processes and techniques, for instance, bowing cellos with a long piece of garden string, attached to a dog lead, to create an extended bowing technique. And on the more technical side, convolution reverbs where you use an actual instrument sound as a convolution impulse and then push a sound through it, which is the reverse of what you would normally do. It’s a case of using your imagination — that ‘What If’ moment.”
Volume 1 contains six of Sound Dust’s most unique and sought-after instruments — a collection of oddities and eccentricities richly sampled with Pendle's innovative recording processes and obsessive attention to detail. All five instruments are packaged together in a simple, single download — an amazing way to venture into the world of Sound Dust. So intuitive is this collection of instruments that as soon as you start moving around buttons and faders, magical things start to happen.
A more traditional selection of source instruments than in our second Sound Dust collection, Vol. 2, but just as innovative and unique. A clandestine, cold-war style meet between composers Christian Henson & Pendle Poucher beneath the Hungerford Bridge resulted in one of the most exciting partnerships Spitfire has forged in its history. Christian's sampling hero Pendle Poucher delights in rusty, dusty, leftfield sounds, creating inspiring new sounds and mind-bending sound design possibilities.
