With complete control over how your bespoke braams are made, Trailer Braams II is an innovative new approach to creating signature braams that sound fantastic and are simple to insert into your songs regardless of tempo. Trailer Braams II can be your final stop when it comes to distinctive braam sounds for your music, regardless of whether you are writing soundtracks, trailers, or production music. We have assembled an incredible collection of characteristic braam layers for you to manipulate, ranging from brand-new live brass recordings to modular synths.
The subject of this article, Trailer Braams II, comes squarely within the purview of Fallout Music Group, which specializes in sound effects and sound design tools for media musicians. The library’s 180 unique sound sources—brass, synths, organic (guitar, cello, vocal, etc.), and transients—are all sampled across a full octave and many have post-processing done. It is made up of roughly 2.3GB of samples. The instrument includes a customized user interface in Kontakt (v. 6.6.1 or later), uses NI’s Native Access for installation and authorization, and is compatible with Kontakt Player’s free edition.
A single, extremely fashionable screen houses all of the controls. To generate the final braam sound, you can combine up to three different sound sources. There is a decent number of Snapshot settings included with the instrument. These serve as fantastic beginning points, but the UI makes design simple. The sample browser, envelope, pitch, and time-stretching parameters are all unique to each sound layer. You can also choose to choose a random sample for each of the three slots to observe what kind of outcome occurs by chance.
You also get a mixer and other cool additional sound creation tools in addition to reverb and delay effects. These include an LFO (with four different waveform patterns) that can be used for volume modulation and to add pulse-like effects on top of the sound’s decay/envelope. Low-pass, high-pass, and tonal settings are available under the Master Sound section. The frequency range of your music may be easily controlled with this straightforward method, giving you the flexibility to make it as loud or as quiet as you need. However, when you press the Power button, a second, macro-style knob appears that also allows you to regulate how powerful your braam will be. This is really effective, and it also provides for a great automation target for adding sound variation from a single instance of Trailer Braams II.
The sounds themselves, too? They can, in fact, be remarkably large. In fact, they’re so huge that you should pay attention to Kontakt’s master output level because some of these sounds can get very loud. The quality of the underlying samples is fantastic, and there is plenty of variety to keep things interesting. I have no trouble visualizing these sounds fitting seamlessly into a regular Marvel movie trailer. Despite having a more limited sample bank than some impact/hit VIs, the front end is user-friendly and adaptable, giving you a lot of choices to tailor the underlying samples to your needs. The library is reasonably priced and open to everyone, including those on a tight budget. Trailer Braams II is unquestionably well worth checking out if you’re looking for some novel approaches to give your cues a larger-than-life effect.