We are not just looking to license a plugin.
We are looking for talented sound professionals that want to learn how to implement 3D sound properly.
Together we can deliver memorable stereo immersive mixes.
Though our engine delivers outstanding cinematic sound via simple stereo outputs, superb mixes require a learning curve just like the historic transitions from mono to stereo to surround meant big changes in the way sound engineers had to approach a mix. Today’s 3D mix is no different: you need to rethink your sound plan and Timber will help with the right tools and guidelines. This is where we excel: knowledge and service for to delivering to your clients and their audiences the best 3D audio experience imaginable.
It seems so easy when you see the websites of 3D audio plugin developers, our competitors. They’ll tell you that, with just one extra piece of software, easy as can be all your sounds can fly around you in 3D. Thay all promise “total immersion,” “ease of use” and a “set-and-forget” interface, and some of the plugins are offered for free or included in the authoring software.
But when you actually speak to game developers or producers who’ve tried these plugins you hear disappointment: the 3D effect is “hardly there” or very limited, and rarely ever what they expected.
Why is that?
Because 3D audio isn't as easy as these plugin developers suggest—a classic case of ‘If it sounds too good and easy to be true, it probably isn’t." (No pun intended!) There are three main reasons for this disappointment:
1. To implement 3D audio properly, the designer needs to know about the psychology of sound, how humans locate sound, and he/she needs to apply that knowledge during the design process.
2. Some plugins have a rather limited feature set, or take shortcuts with some calculations. It is not just Hrtf. Far more than that is required to fully immerse your audiences.
3. Assuming that the same plugin is equally good in positioning a jet fighter plane or a bee in a hive doesn’t work—it’s like using only a single reverb program to simulate a church and the interior of a car. Anyone who’s worked in film knows that for realistically sounding spaces you need different algorithms and a large set of controls to fine tune the simulation for each individual space.