Track Details

Glass Knives 12 mixes

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Glass Knives 2963/8 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone and tam tam textures recorded in a cave
2:27
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  • Tempo NotesSlow
  • ISRCGB-FFM-18-96308
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
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Glass Knives 2 2963/105 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone textures recorded in a cave. No bass
2:27
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96305
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 3 2963/106 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone textures using reversed reverbs
2:20
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96306
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 4 (60) 2963/107 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone and tam tam textures recorded in a cave
1:00
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96307
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 5 2963/108 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone textures using reversed reverbs
0:36
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96308
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 6 (30) 2963/109 Rob Kelly (PRS) | Duncan Pittock (PRS)
Creepy waterphone and tam tam textures recorded in a cave
0:30
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96309
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 7 (Effect) 2963/110 Rob Kelly (PRS) | Duncan Pittock (PRS)
Mighty, reverberant single hit on gong-like metal thunder sheet
0:21
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96310
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis recording which sounds like Gogd's Gong, was actually a large piece of flat metal hung from a wooden frame belonging to percussionist Paul Clarvis. He had it made for him and he calls it his 'puddle' - because of its shape. It was recorded in a cave with a 30 second natural reverb
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Glass Knives 8 (Effect) 2963/111 Rob Kelly (PRS) | Duncan Pittock (PRS)
Slowly descending waterphone harmonics howling in a creepy cave
0:21
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96311
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 9 (Effect) 2963/112 Rob Kelly (PRS) | Duncan Pittock (PRS)
Multilayered waterphones in a rich reverb. An alien with a headache
0:23
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96312
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 10 (Effect) 2963/113 Rob Kelly (PRS) | Duncan Pittock (PRS)
Eerie, reverb-swamped waterphone effect
0:19
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96313
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
Glass Knives 11 (Sting) 2963/114 Rob Kelly (PRS) | Duncan Pittock (PRS)
Dark, low 'bong' from a slowed down waterphone
0:17
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96314
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThis was recorded using waterphones in a cave in Southern England. There are 20 miles of caves creating a reverb of 30 seconds. Lots of microphones were put down the tunnels - some at a distance of about 50 metres - so we could create the illusion of near and distant effects. It was cold, wet, very dark and frankly, terrifying
Play
0:14
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  • Tempo NotesSlow
  • ISRCGB-FFM-09-96315
  • PublisherAudio Network Limited
  • Release Year2018
FactoidThe difference between a gong and a tam-tam is that a tam-tam doesn't have a nipple in the middle and can't be tuned. A gong does and can.
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Night In The Asylum 2963/9 10 mixes Rob Kelly (PRS) | Duncan Pittock (PRS)
Sinister, discordant textures made by autoharp & waterphones in a cave
2:46
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Tunnel Of Fear 2963/5 14 mixes Rob Kelly (PRS) | Duncan Pittock (PRS)
Eerie percussion coming into focus in a huge cave. With strings & fx
3:03
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Under Waterphone 2965/2 10 mixes Rob Kelly (PRS) | Duncan Pittock (PRS)
Ambient & hypnotic waterphone, bowed gamelan & crystal baschet
2:58
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