Every file in your library is measured once: where its energy sits from sub to air, whether it hits or sustains, how tonal it is, its pitch. Ask for “metal impact” aimed low and you get the oil drum, not the tin can, without auditioning a hundred files. Each further layer is chosen for what it adds, so a stack fills the spectrum instead of piling into one band.

On the timeline, regions take the colour of their weight, so you read a scene’s balance at a glance. Pitch is measured too: set a Musical Scale and tonal material is tuned to it, so a stack agrees instead of clashing.

Trace reads light and motion in the picture and gives you a control curve with its transients, like CV taken from a source on a modular. Set a threshold and the peaks become sync points, or use the curve as automation for a background. Pro Tools and REAPER markers import too.

New cut? Drop in the new picture and Picture Conform moves your events with it, flagging any it can’t place. No EDL needed.

Draw weight, from sub to air, and intensity over time, and add keywords. Build casts every layer of every event on the timeline in one pass, each layer chosen to complement the others spectrally, so layers add up rather than pile up. Tracks, trims and fades take care of themselves. Step through the alternatives on any layer, and like or ban sounds.

Also: Alloy, one sound made of four of yours, and Trace from Sound, which takes the gesture of any recording.

A Scatter is a whole cloud inside one event, every particle a sound from your library. Fall is for what lands, bounces and breaks: debris, gravel, rain. Swarm is for what lives and calls: insects, birds, crowds. Draw the density over time, up to 1,000 particles a second, set throw, bounce, float or speed, and hear every change as it plays.

Each particle is panned to its own direction in 5.1, 7.1.4 or AmbiX, with what flies heard in the height speakers.

Overlapping events are deconflicted in time and spectrum on every build, so a dense passage stays legible and the Hero cuts through. It uses timing and level automation only: no EQ, no filtering, nothing written into your files. The automation arrives in Pro Tools, visible and editable.

Exports never clip.

A search tool returns a file. A chain returns a whole sequence, layered and in time. A recipe saves an event’s intent: its shape, keywords, weight and intensity curves and variation. Chain recipes into a sequence, such as air building, a gust, the impact, the fall, then debris in wood, glass and metal, and place the whole thing at the playhead. Chains can hold other chains.

Each time you place it, it is rebuilt from the library you have loaded, so a chain is a fresh take on the same idea. Like sounds, or save a Bed, and it comes back with exactly the files you chose.

Mark your scenes, design a layered background for each location from Fills and Beds, and apply it wherever that location returns. Fills never audibly repeat. Backgrounds follow their scenes when you resize them or the picture changes, with editable crossfades at every boundary.

Film, series or animation: a location that returns, in the next scene or the next episode, is two keystrokes away. Copy its scene, paste it where it comes back, fitted to length.

Shape it as you design: gain per layer, EQ per event, and 3D panning up to 7.1.4 for one event or a whole selection. The Pro Tools session then brings your tracks in folders by bus, in their colours, with fades, clip gain, markers and each event’s EQ as Clip EQ. Or an AAF, or a REAPER project.

Import your mix stage’s track layout, and the export arrives on exactly those tracks.

Drop a sound you exported from Sonic Alchemist back in, months later and after Pro Tools, and Unbounce opens it into the events, layers and curves that made it. A whole session comes back the same way, from an AAF.

Even after AudioSuite. Keep the clip’s name and the file still opens into the layers that made it, or into a fresh build of the same idea.

Right-click an event, a chain or a selection and export a whole set of fresh takes, tens or hundreds, as numbered files ready for a Wwise or FMOD random container. Each take re-rolls the sounds, timing and pitch. Lock the layers that carry the sound’s identity, and they stay in every take.

Mono to 7.1.4 or AmbiX, dry or with reverb. Seamless loops for ambiences. UCS names and metadata written into every file.