Braaam Sound Effect Free Download

[Caterina Haggins]

BRAAAMsometimes uncapitalized, or with varying numbers of repeated letters)[1] is an onomatopoeia used to describe a loud, low sound that became popular in trailers for action films in the 2010s. It is commonly associated with the 2010 film Inception, but the origin of the sound as it appeared in the film is disputed. The sound and its variants are often referred to as the "Inception sound", the "Inception noise" or the "Inception horn".[2]

The sound, really, is that I put a piano in the middle of a church and I put a book on the pedal, and these brass players would basically play into the resonance of the piano. And then I added a bit of electronic nonsense.

The origin of the sound is disputed. It is frequently associated with the 2010 film Inception, although multiple people associated with the film have taken credit for it. Hans Zimmer, who composed the score for Inception, said in an interview with Vulture that he created the sound to satisfy the screenplay's description of "massive, low-end musical tones, sounding like distant horns". He arranged for brass instruments to be played into a piano, which was positioned in a church with a pedal held down, to which sound he later added "a bit of electronic nonsense".[7]

Mike Zarin worked with Dave Rosenthal and Lauri Brown on the first Inception teaser trailer, working with a variety of subway and foley sounds to fit with the only scene which was available to him at the time. He was also told to create a sound for a visual: "if you imagined your hand was buried in sand, and you're slowly lifting it up, and you see something is starting to appear, and then all of a sudden the hand appears, and so then it's very clear". Rosenthal encouraged him to turn it into "a sound that cleared the room", and Brown suggested adding "a brass edge to it".[8] Zarin claimed that the sound that emerged began with the sound effect that others had used in the second trailer. While the sound used in the eventual score was Zimmer's (based on a slowed down version of dith Piaf's "Non, je ne regrette rien", which also plays an important role in the plot), Zarin accused Zimmer of improperly taking credit in his Vulture interview.[6][9][8] Zimmer later told filmmakers of the documentary Score that "people were just sort of using them as transitional pieces" and that the innovation in the Inception score was to use them to "tell a story".[5]

Zack Hemsey wrote the music for the film's third trailer, which included a likely synthesized horn BRAAAM sound that became popular on the internet for its volume. Hemsey did not claim credit for inventing the sound, but believed that it was his innovation to include the sound as part of the music rather than as an effect.[3]

Since the popularization of BRAAAM, and its parody in popular culture, filmmakers and studio executives have tried to innovate by using different kinds of sounds to create the same effect. For example, the teaser for Jurassic World (2015) included a BRAAAM-like dinosaur roar.[3]

To really maximize that authority and power feeling in the braam sound I like to also add a layer that provides a very bold sustained sound. Something like a ship signal horn for example. Or even a pipe organ with some extra effect processing on it.

Now a braam is all about power and authority, so using extreme effect processing is a must. Heavy compression and fat distortion are basically mandatory. For this I love using a plugin called Punish by Heavyocity, since it includes all the main effects I use to create massive and powerful trailer braams. Compressor, Distortion, Transient Shaper, EQ and Limiter.

I find that having the final braam as an audio file gives me more flexibility in the project to place it, edit it, stretch it, compress it, reverse it etc. It is also much lighter on the CPU since the final audio file will have all effect processing burnt into the wav-file. Finally, it is great because you can save the final trailer braam effect into your own custom made sample collection! =)

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We recognize The Imperial March and Luke's Theme as cultural icons at this point, because that is what a strong theme, or leitmotif, does. It brings to mind the image and the feeling of the character or situation that it describes.

You may be scratching your head and wondering what on earth "BRAAAM!" is, but I promise you have heard this sound effect/compositional tool in a movie soundtrack, if you have seen a single action film in the last nine years.

Wherever it began, we must come to terms with this sound being the new normal for about 90 percent of movie compositions. So where does this leave us with Star Wars, the epitome of Romantic era-inspired music? How will the evolution of sound-scaping effect a series that is not exactly known for minimalism?

Simply put, music of the Romantic period is suggestive of the primacy of an individual's experience; it's music that describes how events or a narrative make you feel. This can be compared to the primacy of Structure and Order in Classical music or the primacy of explaining a Narrative in programmatic music. Likewise, this is also very different than the sound-scaping nature of Minimalism.

Minimalism often focuses much more on the process of composition-- think of John Cage's use of I Ching's methods of chance-- than of the product-- think of the compositions of John Williams and how he uses specific sounds to achieve an aural effect.

See how similar these can be? Obviously these two composers, John Williams and Richard Wagner, are from completely different worlds, but they were also scoring somewhat similar dramas. Even down to the incest between Luke and Leia .... oooh, burn!

So where does this leave us in terms of deciphering how the music of Rogue One will be used in the upcoming film? Will it comment upon the narrative a la Williams' usual Romantic influences, or play as less of a frontal lobe role like the "BRAAAM!" sound effect? The composer, Michael Giacchino, has a lot riding on his shoulders, so let's take a listen.

This trailer takes motivic elements, uses them as piecemeal for theme and variation interludes, and pastes it together with the "BRAAAM!" sound and other sound effects like Darth Vader's iconic breathing sound. So it's a marriage of old and new in a sort of patchwork.

Although there are epic brass gestures similar to the Romatic Williams Suite, the bulk of this trailer features a repetitive string ostinato. If, "Rebellions are built on hope," then this trailer is built on stepwise motives typical of minimalist compositions.

So, what can we guess from these two trailers and two independent tracks? Basically, this film will attempt to ride the line between the fantasy of old Star Wars and the expectations of contemporary audiences.

We, as listeners, have come to expect much more soundscaping and much less narrative explanation in our film scores. The soundtrack for The Lord of the Rings is often regaled as a legacy in film scores for SciFi-Fantasy major motion pictures, but those are about 15 years old now.

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Braaams are those long low brassy sounds used within trailer music that are used to accent certain parts of the track. They usually consist of low brass instruments layered with synths and the odd piano here or there.

Whereas trailer composer Mike Zarin claims in 2009 when he wrote the music for the original Inception teaser he had unintentionally started a trend that would overtake the industry when he created his braaams.

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