Magic is always a massive challenge to do sound design for and we can alway use advice on how to tackle it. So we brought in the experts from the team behind the impressive new sound library Conjure, from Echo Collective. Rene Coronado and Brad Dale discuss their approach to magic sound design, recording new material and props, the tools they use in processing and lots more. Check out their Conjure magic library at https://echocollectivefx.com/product/conjure
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The Following is a lightly edited and repaired, A.I. generated transcript of Tonebenders episode 256 – SOUND DESIGN FOR MAGIC. Please excuse any typos or translation mistakes made by the algorithm .
Tim Muirhead/Host
Rene Coronado/ Sound Designer on Conjure SFX Library
Brad Dale/ Sound Designer on Conjure SFX Library
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0:35
Tim – Hello and welcome to ToneBenders, where we talk with the Sonic artists behind our favorite films, games and series.
My name is Tim Muirhead and I will be your host today as we talk about making the sounds of magic and the dark arts.
Specifically, we’ll be looking into the making of the new SFX library from Echo Collective called Conjure that features all sorts of amazing sounds.
0:55
From thundering elemental bombast to delicate bell sparkles, Conjure has something for every magic scenario.
We have the Echo Collective partners here in the studio with us.
They’re also owners of Dallas Audio Post.
You know one of them from this podcast for many, many years.
1:10
Rene Coronado, welcome as always.
Rene – Hey, good to be here. Good to be here again.
Tim – And then also Renee’s partner Brad Dale.
Brad, it’s great to have you on for the first time.
This is awesome.
Brad – Hey, Tim. Thanks a lot for having me. Appreciate it.
Tim – So conjure’s this really amazing library.
1:26
I’ve spent the early part of the day going through all the different sounds in it. It’s really cool. What made you guys decide to make a library about magic sounds?
Brad – Yeah, you know, I think what happens many times with many of the Echo Collective libraries, and I’m sure libraries that other professionals conjure up, is just pure need you.
1:45
You know, we find ourselves in spots as sound designers and sound audio post professionals, needing certain things and needing a lot of it, whether it be for a specific project or just for day-to-day things that are coming across our our plate.
So I definitely had a fantasy magic feature in front of me that had all of the things, spell casts and portals and energy blasts and delicate, small magical appearances and happenings and and all of the the things and we needed great sounds for.
2:18
So along with reaching out to the greater sound effects library community and seeing what was out there, I was looking at the project thinking, OK, well what are the holes that I also need to fill and then what can I generate?
And then just kind of being inspired by all of that as a general process and aesthetic and then digging deep into how to go about that effectively ourselves and uniquely and creatively in our own way.
2:39
And that’s kind of how the spawn of this library took place, was needs and then inspiration.
Rene – Yeah. The other interesting thing on it was, we do Echo Collective as a subset of what we’re doing at Dallas Audio Post.
And we were kind of in the process of dreaming up a slightly different library at the beginning.
2:58
And so we were recording a whole bunch of elements that were more festive and cheery. And then as this need started evolving, we started just like adding a bunch of like dark whispers and recording like, you know, friction rubs and that kind of stuff.
3:16
And it ended up like turning into a whole different thing from where it started from, just based on on what our need ended up being like halfway through it.
No, no, that’s very true in in terms of you know we were looking at doing something like a festival even like a holiday kind of sprinkle sparkle type thing and or with organics and shakers and reeds and and the like.
3:43
We were looking to do something very you know on the mic.
And then we just allowed ourselves to take that journey and then bring in the cloth and the poof and the bigger clothes and the layers and then the granulations and then the electric and the energy and things, definitely was a journey that happened organically.
4:09
Tim – So aside from the stuff that you needed for the project that you were working on, like this is a vast array of different types of sounds. Like, did you just start with Word document and just list all the different kinds of magic you could think of?
How did you come up with the ideas for all the different types of sounds that ended up in the library?
4:26
Rene – There’s more than one of us, right?
So, you know, we all got sent off into our own rooms and just dreamed up our own magic things.
And what would end up happening is we would all have completely different ideas about what was interesting and what was cool. And we’re all using different tools. And then Brad, basically as the producer of this, would take all of just the raw source that we were all doing.
4:43
We were just putting all kinds of paint on the canvas. And he took a lot of time and just started stripping it back down into things that were good and just getting rid of things that weren’t quite over the bar from a quality perspective. Or maybe like we’re a little bit redundant or whatever, and you end up looking at the whole of it and realizing.…
5:00
There’s a lot of poofs here. We need some more energy, you know, and just kind of figuring out what your holes are after you’ve after you’ve done a whole pass.
Brad – We did spend a lot of time on this library because of our bandwidth and just our ability to kind of just explore and let the sound designers, the four of us, just go.
5:18
One of them, Paolo Guzman, spent a lot of the the bulk of the time on the mics. You know we were using like a Shoeps M/S configuration and just spent a lot of time on sources, small sources and things, cloth and you know cellophane and the types of things that we were just experimenting with process.
5:37
And then we did kind of all take those sources into our little cubby holes, if you will, and use the various tools that we each use to manipulate.
I guess it is worth noting that it is all 99% of the library does come from organic sources.
There’s like very little synthesized.
5:53
I think I put a few LFE elements that technically come from synthesis for like sub harmonics on some layers.
But the vast majority of the library comes from manipulating and layering sounds off the mic, which we felt for fantasy and magic was very on brand and in terms of it being organic.
6:12
And I think once we kind of fell into the conjure theme of this, is magic that is derived from something that lives in this organic and otherworldly space and it’s not necessarily synthetic or sci-fi that helped lead us where we wanted to go.
6:30
Part of that was kind of what we talked about. We started as like a festive sprinkly thing. So the very early stages of what we were doing, it being organic, kind of helped keep it rooted in this conjure world, if you will, as opposed to it being something that’s a little bit more like sci-fi and Synth generated.
6:51
And not that that’s not awesome, that’s totally awesome as well.
But this was we tried to keep in the world of Hyperreal, I guess.
Rene – Yeah, we had conversations early about like it being a kinetic force. And the other thing, Tim, is like we like to put restrictions on certain libraries. We like to to kind of create a little box and then get creative within that box.
7:10
So like we released a library called Analogue Interface. And the entirety of the concept behind that one is like only Analogue Synthesis, like no digital anything, just super fat, just circuits making noises, right? And so for this one, our initial concept was like, this has to be very kinetic type magic, not synthesis type magic.
7:33
So it’s all got to be very, very real sounding like people are moving with force, you know, like telekinesis, almost kind of stuff like as an initial concept. And so that helps us keep the whole library feeling like it’s all from the same family and also just kind of having a unique angle that you know, if you have a project where like from a story perspective that makes sense, then then this stuff is like super, super covering all of what that is.
7:56
Tim – So let’s talk about some of the source material that you were throwing up against the mic. I really found myself drawn to the electric sounds. There’s a lot of really cool electricity sounds in addition to force fields. But actually I mean like the crackling, the sparks of electricity. And then the way the library’s set up, there’s a designed section of it, that has all of the stuff that you guys are talking about when you really went in and designed it and made it hyper real.
8:23
But then there’s also another section where it’s all the elements, which is not just the raw elements, they feel like they’ve been really treated lovingly as well. But do you want to talk about how you came to all the electrical sounds in it? Maybe start there?
Brad – Yeah, for sure.
I mean, as a sound designer, it was just super, a lot of fun, right?
8:42
I told someone the other day, I don’t know how I made it this far into my career without doing granulated manipulations of cellophane, because that’s just fantastic.
And so I spent a lot of time just loving that stretching of plastic wrap and cellophane and tape ripping and these types of things that were you know good and then and working the mic with them, you know using proximity effect and things on the in the mics, you know while we’re rushing it by.
9:18
And so you’re using the air in the microphone proximity effect, but then on these organic materials, even if it’s plastic but real non synthetic on the mic materials. And then yes, taking those performances, long performances, kind of editing them, those raws, doing some processing to them and then pretty key that one of the main tools.
9:41
And you’ll see whenever you see “granulated” in the metadata.
I was using a granulator synth that I found called Novum and I just kind of searched the market. I have an outboard granular synth and it’s super cool and fun to play with. But it’s like mono and 16 bit and you have to load it up with a chip card.
10:00
I looked around in the space, like what can I do at 96 K and really get these sounds in there and start doing the types of granular stretching and things I want to do and really retain that information And that authentic data that’s being recorded off the microphones and one of them was super cool.
10:16
You do have to kind of strip it of a lot of its presets and go in and, you know, obviously load in your own sounds and start from scratch in terms of what you want to do with the sounds.
But it was super powerful to take these recorded plastic wraps, stretching, ripping, tearing types of things and then just rip them further with granular synthesis applications.
10:40
You know you’re taking this the raw samples and playing them across how many different cloud based densities and and pitches variations and things and and performing it you know was mapping the various controls to sliders and knobs on a keyboard and then playing layers on the keyboard and playing the big electric lightning bursts and things and manipulating a lot of that stuff in real time which is a super important part of what’s going on in there.
11:10
But what’s also magical about the workflow is that Rene is right over in the other room using a non-linear application to take the files and do his style of processing on it.
And he could probably talk about what that is and, you know, the strengths of both, I think are super cool or my me as a musical background, you know, I love to just get on the keyboard and the controller and the knobs and rip my sounds in real time.
11:36
Where Rene is super powerful at setting up parameters and telling the machine, this is what I want you to do with these sounds.
So, Rene, you want to talk about that a little?
Rene – I mean sound particles is a lot of it and then also radium inside of sound miner as well.
11:51
It is a lot of like the performance side of it too. Like another thing that happened was, we would pull in just footage right from these projects.
We just look at the footage of the actual magic stuff that was needed to get designed, and we would all pull the same footage and we would all do our own design passes with our own takes on exactly how to do it.
12:10
And even if this particular portal or this particular spell was only happening one or two times, we’d sit there and just loop it, you know, and make 5 or 6 iterations. And we would all just sit there and just bang out a whole bunch of different highly designed interpretations of whatever it is we were looking at.
And it was really, really cool to have all of this visual inspiration to allow you as a designer to sit there and just perform something or really stack and layer something and just make it exactly how you want it to be.
12:38
It ends up telling a story, a little bit, on the design side that I think it comes across even in other contexts. You know, I found like when we’re doing music supervision, sometimes finding music that was written with lyrics on front of it and then getting just the background tracks from that, those things tend to work better than music that’s designed as like background music because it’s just got more greater context that you’re pulling it out of.
13:00
And it’s it’s a similar concept here.
Tim – So it’s funny that when you guys were just talking about the “granulated” ones because when I pulled up the library, loaded it into SoundMiner and I started listening to the sounds.
And the the first time I came across the word “granulated” when just going down the list was the “granulated plastic wrap”.
13:19
And like my ears perked up when I started hearing those, they’re super cool sounds. And then I went down a little bit further and I came to “granulated air moves” and well, oh, these are amazing.
So then the next thing I did was just type granular in and just search for only granular and they’re all amazing.
13:39
Brad – The granular stuff is super fun.
Tim – And then there’s another word that you guys use a bunch “texture”. What what are you guys using the word texture to kind of describe in this library?
Brad – As designers we also, you know, love and work with, visual design as well.
13:54
And so I tend to make a lot of parallels with sound context and visual context. So a texture to me sonically could be like the visual equivalent of like a vector layer that I would see on a super cool website that’s selling those types of visual contents for visual creators.
14:15
These are things that as sound designers we are using as layers or as stackable elements, or elements that we may be filtering and slicing up further. But they’re kind of palette building things.
That’s to me. What textures in the Sonic landscape are as kind of palette buildings.
14:33
I think of them as like, OK, this is my set of colors that I’m going to paint with. I love them all. They complement each other. Or maybe they’re drastically different from another. And then I’m going to use them, you know, to design like whatever. I’m designing visually with sonics that maybe I’m juxtaposing them back and forth, or maybe I’m layering them, like I said, or filtering them.
14:52
But textures, to me, are sometimes a little bit more long form. Different then, like hits or bursts or reveals or spell casts or lightning strikes. Short events that are textures not quite pads, but they’re amazingly useful.
15:10
Sonic long form or medium form layers of sound.
Tim – So Brad, when it comes up with “texture”, is that you? And Rene, I’m guessing that you’re the one that uses the word “field” a lot in the metadata, Is that right?
Brad – “field” is Renee.
Rene – Yeah, that’s me. Yeah. So I think those are probably similar.
15:26
Brad – There’s a lot of crossover between texture and field I would imagine, but I think “field” is a Rene term and “textures” of Brad term for sure.
Field is Rene working in sound particles, making a whole bunch of stuff like appear at the same time and swirl around kind of thing.
Rene – Like those are my fields, when I did the car drop thing, I did debris fields where I just had all the cars going, crash.
15:50
The other thing is like with “textures” though, we ended up with was from a visual perspective, one of the tropes that happens in magic is like long spells, right?
Like, so in other words, somebody will like have some sort of force field that’s like wrapping around them and like freezing their motion or like buffing them up or draining them down.
16:07
Or there’s like big portals that are just sitting there just constantly swirling and doing all this.
16:21
So you have to have these long chunks of sound that are consistent without being boring, right?
And that’s what a lot of the “fields” elements kind of are for.
Is for building those longer static magical events that still have to have movement but can’t have any repeating, if that makes sense.
16:42
Tim – No, it makes perfect sense. There’s some really cool fields in this one, like from percussion instrument “fields” like the tambourine field listed.
Rene – Yeah.
Tim – And when I first read that, I was like, well, what, that’s just someone shaking a tambourine.
16:59
And then you listen to it and it was like, Oh no, that’s way more.
Rene – Yeah, the nice thing about when you’re doing stuff inside of Sound Particles is it creates things that are beyond what you could edit by hand inside of Pro Tools.
Because it’s like you’re creating hundreds and hundreds and hundreds of events and they all have randomized, you know, loudness and pitch implementations and they’re also moving in space with Doppler effects on every individual particle.
17:23
And it’s also offline, right. So it’s not like real time “pitch” manipulation or real time “time” manipulation. It’s much higher res than that because it’s offline and it just allows you to make some stuff that you can’t make by hand. And sometimes it just causes a different context for what’s going on.
17:39
And so you can tell that it’s tambourines, but you can also tell that it’s like beyond what you could do with a tambourine.
Tim – Yeah, and you could put that through, you know, reverbs and stuff like that and make it into something really, really cool, like almost all the ones with field on them, similar to granular.
17:56
I felt like, oh, that is a layer that I can like make sing. Like that’s something that I can really work with.
Rene – They’re they’re really cool sounds and like when I think of a magic library, I don’t think of long sounds. I think of what you were saying earlier bursts, poofs, that kind of thing. But this library has that second dimension that takes you to get through longer moments.
18:16
Tim – And also those sounds. I can see a lot of them being used in completely non magical contexts.
Rene – Yeah, I have been already. I’ve got the Dallas Stars and we’re doing a bunch of playoff stuff right now. Even though there’s like no magical things happening on the screen there.
18:31
It’s a bunch of cybernetic stuff. Like every so often, I need this little, like, “poofy sparkle” thing just to cut through. And I know exactly where to go for that stuff now.
Brad – it is pretty magical about how useful these types of sounds can be used outside of just…. magic.
And I think that’s pretty important, like just beyond this one library.
18:49
As we do what we do as professionals, whenever I just challenge myself to not just go to the XYZ library, it’s super cool because that’s where you’ll find magic. You’ll be like, Oh my God, I never even thought about putting this sounds up against it, but it’s really fresh and it’s really working and it’s creating an aesthetic that you know is different.
19:12
And so that’s what we should be challenging ourselves to do.
Tim – Well there’s always something fun and fresh about, as you guys said, actual organic sounds being recorded in front of a mic.
The field recording slack that Rene and I are on, I don’t think you’re on that Brad, right?
Brad – I think I’m technically in it, but probably a silent viewer.
19:30
Tim – But the the crowd sources that happened through the field recording slack, there was a magical based one, like maybe two years ago and I just bought a computer and there’s the huge giant pieces of Styrofoam that were holding the computer in the packaging.
And I was like, this is going to be perfect for the magic.
19:46
I’m going to like rub these together and everything.
And what ended up being the most magical sound was just bashing them together and it made this poofy like impact sound.
That was not what I was expecting at all to be using when I put the microphone up and like, got those things out and then that’s the thing that ended up working.
20:03
So I love the idea that this library is all based on things actually being put in front of a microphone and just as you said, playing with the perspective and everything and just seeing what those props give you. Because often, at least in my experience, what you think you’re going to get isn’t what you actually get.
20:19
Rene – Yeah, and it caused a little bit of a challenge too, because, the default stuff that came off the mic needed a little bit of help on the low end sometimes, right?
Because we’re sitting here working with all these beautiful, like, musical instruments, but not necessarily with things that are, like synthetically punching, right?
20:35
And so we had to go through and consciously grab some pillows and some other things and hit them hard in order to fill what turned out to be a hole at the very beginning of the library as we were working within that restriction, you know?
20:51
Brad – Yeah, as curator and just pulling in, you know what I always call like our “phase one” sounds and then “phase two” as we would start to manipulate and you know there was a point in there in which it was like guys, we need more bass.
We’re just we’re thin down low just because of what we’ve putting into the box so far.
21:07
And so we just went and adjusted and found things that’s kind of that’s also like when we pulled in a little bit of the friction mallet recordings, there’s a little bit of that for some LFE elements and then the deeper clothes and things.
And then since we are working at 96, we can manipulate octaves on things, whether it’s radium or the other, you know, types of tools that we’re using to design.
21:31
Then, you know, we’re definitely paying attention to giving credit to full frequency sounds. Make sure things have lots of bass and lots of high frequencies and things. When you’re putting to something together and you’re kind of allowing it to come to you, you have to also have these moments of honesty and be like, OK, this is now I need to go and steer the ship in a direction based on what has come to me.
21:56
I keep making comparisons to like musical album creations, you know, where you just allow yourself to go create music and then when you have a set of sounds and things, then you start to think, “OK, well what’s the exact story I’m trying to tell?”
And you start to craft that beyond, just what you’ve handed yourself.
22:16
Rene – It’s a bit of that process. We talk about this internally a lot too. It’s like we try to get the artwork actually going long before we’re at the end of the road for the library, and it’s usually like a whole host of images and things.
22:31
Brad – So not only are we working with actual spell cast scenes like Rene discussed, where we’re like, all right, let’s make a dozen versions of this spell cast right here. It’s let’s put the artwork up in the space while we’re working and work towards that. It’s like we love the way this looks and the way our mind wants it to sound.
22:50
Let’s go create that and if we can do a decent job of that then we’ve told a story.
Rene – Yeah. And the art went through a path too, because like from a story perspective, we were initially going festive. And then we were like, Nah, let’s do magic. And then it was like, well, let’s make it light versus dark, right?
23:07
Make it maybe like 2 libraries, like a light magic and a dark magic library. We had all this art up for light versus dark. And then you start getting in there and curating and throwing stuff out and doing other things like that. You’re like, you know what? “It’s more like this.” It needs to sound more purple than blue and red, you know, and you end up making it more purple sounding than the initial super blue and red kind of vibe.
23:29
And yeah, the colors of the art, like, absolutely influenced the Sonic decisions that we were all making.
Tim – That’s really interesting. I never thought about doing it that way. That’s smart.
Rene – Yeah.
Brad – And I say right up until the end where I’m like doing the final mastering, final metadata and final just like getting my head wrapped around the collection of sounds and looking at it against the art.
23:49
And I’ll just be honest with myself and be like, you know what?
I need to go spend another day like what does this illuminating crystal of energy sound like? Let me do some further designs and make sure I’ve done due diligence to these elements.
24:05
Because that’s once you get through all the elements, you’re like, man, I can do more with these elements and do some more design. I mean the purpose of the designed things in this library and as in a lot of libraries are kind of like these are ready to go, like grab them and go and do your thing. But then obviously as sound designers, I can already tell you, Tim, you’re like, man, once I got into these granular elements and I’m thinking, oh, this speaks to me, I can use these in my process.
24:30
I don’t need them fully baked right So but when we’re making this the library, you know, I’m honest with myself. Have I developed these elements enough into into more fully developed things?
Of course we can do it forever, Yeah.
24:47
That’s that’s the process anyway.
You kind of want to just be, you know, be honest with yourself, OK, Yes, yes, I love it. You know, that’s the art.
We do try to be artists in what we do with this ’cause we we do this for love, and I think that if we do that and we love the sounds, then hopefully others will too, right?
25:03
Rene – You were asking Tim about like if we had a spreadsheet earlier and it wasn’t as much that, as it was, we just walked back into the prop room and grabbed handfuls of things that we thought we could turn into magic. And then that process was just like days of that. And then you go through all the things and you start actually doing the design pass and you realize what’s working and what’s not.
25:21
And then you end up going back to the prop room and and bringing different stuff out to the mics. Because, you’re realizing that this was a good idea in theory and not so good in practice on certain props and whatever. And then certain props like just yield some magic that you didn’t know they could do.
And it’s just that process over and over and over again until you just got a stack of stuff that’s all gold from top to bottom.
25:42
Tim – So Brad a couple answers ago said something along the lines of “phase one” sounds and “phase two” sounds. It might not have been “phase”. I can’t remember the exact word you used.
How many levels did you go to on that before you decide that you’re done?
Brad – Yeah, I mean that’s a great question. I do kind of consider them in “phases” certainly with this library like “phase one” is like just raw recording elements and experimentation in just “on the mic” recordings and manipulations.
26:08
Phase two is just our first round of exploiting those sounds like a first wave edit and then a first wave of design and layer, but not so much design with multi layered stacks are like a purposeful event so to speak, but like just experimenting with the sounds that’s would be like “phase two” I guess, right Rene.
26:29
And then “phase three” is kind of when we move into design, that’s where we’re like, “OK, I’m going to make fireballs.”
Phase one is like paper on the microphone.
Phase two is like processing that paper and just getting them, you know, nice and ready to go.
26:51
And then “phase three” is like stacking them in radium with other things and making, you know, I’m gonna get my, my pitch curves going and everything.
And here’s what I’m making.
Phase three is that kind of design phase, even if they’re still elements, they’re kind of in that phase.
27:09
And then “phase four” is when you’re just stacking, you’re doing the next iteration of that to make like maybe something that’s visual in front of you.
OK, now I’m actually doing this scene of a big spell cast or whatever, or a big blast.
And I’m going to do like 6 iterations of that.
27:27
And then I’m going to do this layered poof and I’m going to do 6 iterations of that. And then Phase 5 is when I just kind of go through and master. We do master.
27:42
I guess since in this traditional sense the library is using, you know, mastering tools and just want to make sure that we’re just giving folks sounds that are just that are rich and good to go and balanced and have frequency content and not like, you know, if it needs any help with like sharpness or things that you know, just some piercing that needs to be reduced or those types of things.
28:04
We do try to make sure we’re not just handing everyone that all different types of content and level as well.
This library does come in pretty hot.
There is some softer stuff in there or that we’ve let some transients go, Like some of them aren’t delicate, you know, poofs and things or you know, there may be a little lower because there’s actually some transients up there that I don’t want to just smash.
28:25
And then there’s some design stuff that’s just coming through where you know, I’m definitely using Ozone like to kind of get things up and just big and awesome so.
Rene – Yeah, the before and after on Brad’s mastering pass can be pretty dramatic sometimes because he’s looking at the actual frequency response like overlaid on the EQ.
28:44
And you know anytime when you’re doing design work, sometimes frequencies do stack in a non aesthetic way, I’ll say.
And so that mastering process really goes through and just gets all of those little little idiosyncrasies out.
The other thing, for me personally, the way that I was viewing “phase two” was it’s a design like within a single prop in a lot of cases.
29:07
So like you know you’re talking about that tambourine cloud.
To me that was like when I take a single prop which is you know all the recordings of the tambourine and then do a sound particles pass. But I’m not adding anything else into sound particles. I’m just doing tambourines, going doing that with the tambourine. I was doing that with the whisper voices and all that kind of stuff.
29:23
And the same thing was true when Brad was sitting there in Novum with the granular, taking a single recording of Styrofoam or cellophane and doing that granulation. It’s still design and it’s still manipulation, but it’s not necessarily layered.
And so you take that kind of more processed step into “phase three”, which is where you’re doing more hardcore like layering and like more pitch mapping.
29:47
Tim – Combining elements.
Rene – Yeah, you’re doing it more with more intent, I guess, because you’re trying to cover all the things like to make a specific like spell cast or something like that, as opposed to exploring whatever this one prop can do, you know?
Yeah, that’s when you start to head towards that.
30:04
This is a portal or this is what I’m looking at visually, so to speak.
Where in “phase one” and “two”, you’re kind of exploring sounds as sounds headed towards obviously as sound designers, our purpose of making sounds for picture.
30:19
Brad – Yep.
Tim – Awesome. Well thanks for talking to us about this today. It’s a really amazing library. People can go to echocollectivefx.com, listen to the demo and check it out and have fun with it because it’s a really cool library. Thanks a lot guys.
Brad – Hey, Tim. I really appreciate your time and thank you.
Tim – Cool.
30:34
Rene – Thanks, Tim.
Brad – Thank you.
Tonebenders is produced by Timothy Muirhead, Rene Coronado and Teresa Morrow. Theme music is by Mark Straight. Send your emails to info at tonebenderspodcast.com. Follow us on Twitter via @thetonebenders. Join “Tonebenders Podcast” on Facebook. Support this podcast. You can use our links when you shop at b&h or leave us a tip. Just go to www.tonebenderspodcast.com, and click the support button. Thanks for listening.
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