Hey music makers, sound designers, and sonic adventurers! Triumph Audio and Kevin Manthei are back with an incredible offer: four FREE sample libraries packed with unique and inspiring sounds! These libraries are a taste of the amazing things possible with our full versions, giving you the power to enhance your compositions with a professional touch, completely free of charge.

How does a sample library become a Triumph Audio sample library?

A sneak peek at our process.

First off we gotta sample something right? And it’s gotta be interesting or if it’s a standard instrument (think cello) then we gotta do something a little different. Right? I mean should I jump in and be the 150th person to record legato cello? I may take that task on in the future but for now let’s focus on unique instruments (think Ghost Ukelin, Short Wave, Feedback Drones and Roadtrip Percussion). Since Cinematic Toy Piano is coming out as we release this blog post let’s talk about it. Cinematic Toy Piano starts out with your good ol’ basic toy piano sampling. Nothing overly fancy here but some good mics, good mic placement, a great place to record, some high end convertors and someone really patient to hit every single key over and over in various velocites.

That's why our motto is "We Sound Different." It's not just a catchy phrase - it's our mission. Every library we create, every sample we record, is done with the goal of giving you something unique. We're not interested in being another cookie-cutter sample company. We're here to push boundaries, to give you tools that will help your music stand out in a sea of sameness.

Film, TV, and game composers often share common desires and challenges in their work. When it comes to sample libraries many of the points below ring true.

I’ve been recording and sampling since the days before Kontakt and yes even Gigastudio. My first sampling foray was recording directly into the Roland S-760 samplers. Back then those machines had a massive memory of 32 megabytes. Yes, you read that right. 32 megabytes. Not gigabytes.

Hey there, fellow composers & musicmakers! I'm excited to chat with you about my latest musical exploration, "Ghost Ukelin." This project has been a wild ride, and I can't wait to share the journey with you.

How do I write this Superhero demo that is asking for cinematic action music but they DON’T want it to sound like traditional Marvel, etc scores?

How often does this happen to a composer where they are asked the impossible. Write superhero music that doesn’t sound like superhero music.

With the release of our third - count em - third library I thought it would be fun to reflect on this road trip of sorts and also on how Roadtrip Percussion came to be a library.

As a composer who loves sounds I have always had my ears open and listening when am out and about in the world. You NEVER know when you will encounter an amazing percussion or tonal sound.

I want to share my personal journey with you—a journey that took me from composing music for film, TV, and games to starting my own sample library company, Triumph Audio. Through this blog post & future ones, I hope to pass on some valuable lessons I've learned along the way.

I am a firm believer in happy accidents and using chance in music. If you think about it, composers, producers and musicians make thousands of tiny decisions every day as they create, produce and play. These tiny decisions become a whole product and this whole product is what we are judged on.