Pitch Monster
A polyphonic pitch-shifting plugin with granular, formant and vocoder engines, real-time MIDI control of pitch, unison and chord memories.
Organic & disturbing.
Body horror is organic and disturbing. It wants the listener to feel it physically, not just hear it.
The sounds that work are wet, fleshy and close: gore foley, breaths, groans, and acoustic instruments recorded so close you can hear the bow grinding on the string. Used as percussion, a squelch or a crunch on the downbeat says more than another drum hit.
Layer these under your music rather than on top of it. You want the listener to sense something physical is happening without quite being able to tell what.
By Richard Pryn · Go deeper: DIY horror sound design: make your own signature sounds, hits and drones
A polyphonic pitch-shifting plugin with granular, formant and vocoder engines, real-time MIDI control of pitch, unison and chord memories.
A distortion plugin that Output calls an 'Interactive Distortion Engine'.
A five-knob effect plugin that the developer calls a 'Nightmare Shifter' ('The Shifting Nightmare').
A creature vocal library of 3,991 sounds in 676 stereo WAV files (13.41 GB).
A library of 1,773 creature sounds in 24-bit/96 kHz WAV (3.81 GB) covering 24 types of fantasy monster, animal and insect.
A construction kit of 400 zombie crowd sounds (401 files, 24-bit/192 kHz, 12.4 GB, about 208 minutes) performed by eight vocal stunt performers.
A gore library of 3,390 sounds in 607 WAV files (24-bit/96 kHz, about 5.7 GB, about 160 minutes).
A touch-controlled analogue instrument whose audio signals pass through the player's body via touch-sensitive metal pots.
A free, collaborative online library of user-uploaded sounds (738,114 at the time of checking) run from the Universitat Pompeu Fabra, searchable by tag, with downloads requiring a free account.
A gore library of flesh, bone, cuts, stabs, breaks and splatter, as designed sounds plus construction-kit recording sessions for building your own.
Experimental vocal techniques from Lea Bertucci, Audrey Chen, Cansu Tanrikulu and Phil Minton (throat singing, whispers, shrieks, clicks, multiphonics), processed with tape, outboard and digital effects into 49 presets in Spitfire's own plugin (about 2.5 GB).
A standalone application that layers up to 12 effects (convolution, procedural and synthesis processes) over a microphone, up to three audio files or a virtual instrument to build creature and robot voices.
No tools match those filters.