Panspermia — Louis Rugg
Stunning recordings of whalesong, transformed using granular synthesis. This collection of haunting textures was commissioned by The National Theatre and composer Jherek Bischoff, forming the bedrock of his breathtaking score for the stage adaptation of Neil Gaiman’s The Ocean at the End of the Lane.
Neurogenesis - Louis Rugg
While on various shoots in the Northern hemisphere for Albion Tundra, we captured the natural sounds of near-silent environments — lava flows in the volcanic hinterlands of Iceland, a lapping Scottish loch and a dense Estonian forest — treated and warped to create atmospheric textures.
Vertigo Street - Louis Rugg
This Wurlitzer electronic piano was sampled at Spitfire Studios by engineer Henry Cornish. Made popular in the 60s by legendary rock and jazz musicians, the Wurli is known for its distinctly sharp tone, cutting through your music like a knife. Choose our 'Super Soft' presets for a more mellow, soulful tone.
Alpine Marmot — Oliver Patrice Weder
Recorded on our dry stage at Spitfire Studios, this swirling, droning brass will add warmth and subtle movement to your scores. Trumpet Fields features two amazing trumpet players performing soft, long notes with a range of granular elements — from double tonguing to slow bends. Choose from five different reverbs to create your own unique, atmospheric textural beds.
Trailer Music — Homay Schmitz
Taking inspiration from Musique Concrète, Jon Hopkins & Burial, Spitfire engineers Harry and Jess took to the streets of London with a Sennheiser MKH418 to capture the spirit of the capital. From tube doors to city traffic, these field recordings have been warped to give you complete soundscapes — percussion, pads & atmospheric loops, ready to make your own.
Celestial Orbit — Oliver Patrice Weder
Complementing 2018’s LABS Strings, this second chapter offers you three new playing techniques — Pizzicato, Bartok Pizz and Swells Ensembles — performed by fourteen of London’s best strings players at Spitfire HQ. Mixed by Spitfire co-founder Paul Thomson, these strings will add texture and vibrancy to your music.
Why Not — Leo Wyatt
In the spirit of creative collaboration, we give you a collection of unique sonic textures made out of audio samples from Ólafur Arnalds and the artists performing at his London festival, Opia: Kiasmos, VAAL, Rhye, Poppy Ackroyd, Högni & Ensemble, Grandbrothers, Hania Rani & Josin. Each artist has submitted a sample that means something to them — from the sounds of ice skating to pianos — mangled and warped by our expert team to create entirely new and unconventional sounds.
Synaesthesia — Louis Rugg
In 2018, Christian fed a Wurlitzer, felt piano and guitar through ethereal effects pedals, including Gamechanger Audio’s Plus pedal, which sustains any sound indefinitely to create a soft pad effect. Discover nine patches of ambient pads, perfect for all your dream sequences.
Spieldosen Musik — Oliver Patrice Weder
Discover the bewitching sounds of two music boxes: one made and performed by award-winning composer and artist Hannah Peel, featuring on her score for HBO’s Game of Thrones: The Last Watch — made by hand printing notations on paper with a hole puncher, the sound of the paper rolling through the box adding a beautiful texture; the other sampled at Spitfire Studios on top of a piano, for extra resonance.
Pluviophile — Louis Rugg
Add a touch of glistening magic to your music. Many years ago, we dotted a selection of hand bells around the Spitfire office, dinging them at any punchline. Hearing their sampling potential, we took them into the Spitfire studio, adding vibrato and ghostly effects.
Pollinators — Louis Rugg
Two dulcimers, recorded by composer and Spitfire Audio founder, Christian Henson. He sampled a range of playing techniques to capture the versatility of the instrument. Choose hammered for a round, warm tone, fingerpicked or tremolo for a more metallic edge, and discover the spellbinding quality of the mini dulcimer, with glissandi.
Mute Reformer — Louis Rugg
In January 2019, Christian Henson made a modular piano. He sampled his upright Schimmel felt piano and Wurlitzer, passing the signal through his modular rig — an array of analogue reverbs, delays, and other goodies — to give you twelve unique, beautifully atmospheric sounds with a slightly industrial edge.
Louis Rugg — Off-Kilter Butterfly
These haunting string evolutions were the inspiration behind Spitfire’s Evolutions libraries, born out of the need for subtly shifting textures. Performed by a small ensemble of string players, we give you three distinctive presets: Cool, which creates icy overtones; Sustain, for longer notes; and Stretched, for a disturbing, drawn-out effect that will make your hairs stand on end.
Gaia — Louis Rugg
Sampled by Christian Henson back in 2006, this classic instrument has been used all over his scores, and despite its simplicity, is a directors' favourite. Created using a Fender Telecaster fed through a 15w vintage tweed amp with a hint of vibrato, tremolo and distortion, we offer you a guitar sound synonymous with British indie music.
And the Robot had a Voice - Louis Rugg
Recorded in May 2018 by Spitfire engineers Harry Wilson and Harnek Mudhar, LABS Synth Pads was created using Christian Henson’s much-envied synthesiser collection. They fed five vintage synths through reverb, guitar pedals and a selection of outboard gear to create a super celestial sonic universe!
Virus — Oliver Patrice Weder
In June 2017, we sampled the exceptional Eric Whitacre Singers at Air Studios, London, to create our first ever choir library, curated and conducted by Eric Whitacre. LABS Choir features ever-changing choral samples, created by combining three evolutions from this epic vocal encyclopaedia — the textures weave in and out of each other and evolve constantly as you play, offering you endless inspiration.
Of All Man's Appetites — Louis Rugg
LABS Frozen Strings was the spark of inspiration that led to the making of one of Spitfire's most renowned libraries — Albion V Tundra. With just six strings players, recorded dry on a cold day in January 2015, Christian Henson set out to create a sound of stark beauty, something that would fit against low, grey skies — the super sul tasto is a haunting highlight.
Asphyxia — Louis Rugg
LABS Amplified Cello Quartet was recorded by our founder Christian Henson and engineer Harry Wilson in 2017, here at Spitfire HQ. Christian played with the sound during the live recordings using effects pedals, with the celli in one room and the amps in another. The amps were driven incredibly hard, allowing you to turn your strings up to 11!