The Spitfire Audio LABS programme is an infinite series of software instruments, free and easy to use; made by musicians in London for anyone, anywhere. We release one every month, as well as a bimonthly creative compendium, The Notebook. And in case you missed it, they are all FREE.
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.
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.
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.
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!