30+ Year Audio Veteran Andy Greenberg, On Building Client Relationships In The Advertising Industry

Posted March 12, 2020 by Doug Siebum in Recording, Sound community highlights, Television sound

Andy Greenberg is a 30+ year veteran in the television and film industry. His career has taken him from the East Coast to Southern California, and finally to Northern California, where he has worked in sound for the advertising industry for the last several years at One Union Recording in San Francisco. And in this interview by Doug Siebum, he discusses his approach to building client relationships in the advertising industry:

Written by Doug Siebum, photos courtesy of Siena Greenberg and Andy Greenberg

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DS: Hi Andy, thanks for agreeing to do an interview. Today I’d like to talk about the topic of clientele and building client relationships. Can you introduce yourself? How did you get your start in sound? How did you find your way into the advertising industry?

AG: I have been a musician for most of my life. I started recording bands in High School. Then went on to get a bachelor of science degree in sound, acoustics and system engineering. Music wasn’t paying the bills, so I moved into location sound recording for films and video. Then started working in a production facility. I was doing everything from field recording to editing and even graphics. When I moved to Los Angeles, I started the process again with location engineering, then found a large post facility that let me help build some edit suites and a few mix rooms. When the early versions of Protools came out, I was hooked. I started to mix long form videos and documentaries as well as some commercial spots. I really enjoyed the commercial spots because quality was a main focus. Long form is mostly about making bad production sound better. Commercial production allows me to capture the best quality audio and start from there. When I moved to San Francisco I started to work for One Union Recording where we do many different kinds of projects, but mostly commercial post work.

DS: How did you find your first clients?

AG: For most of my career, I was working in a facility that clients would come to. So, my clients would come to finish their work and I would be assigned to record or mix the job. The same thing happened when I moved to San Francisco. I was assigned clients in the beginning, then after I started working with the same folks, we developed a relationship and they would keep coming back.

Building a client relationship takes time and patience. The only thing you can do is always be professional and try to guide the session with a soft touch.

DS: Can you talk about building relationships with clients?

AG: Building a client relationship takes time and patience. The only thing you can do is always be professional and try to guide the session with a soft touch. Some clients know what they want from the beginning, others need to find their way as you work. I like to say “it’s all about the journey”. You have to learn to read the room and figure out the dynamics of who is driving the boat at the beginning of the session. If you can do that, you will have a great mix.

Communication is key. I need to ask questions, the client needs to ask questions, there has to be an open dialog at all times. Even after the session is over.

DS: How do you maintain those relationships once you have clients? Any tips?

AG: Communication is key. I need to ask questions, the client needs to ask questions, there has to be an open dialog at all times. Even after the session is over. If there is a mix change or re-edit, we have to be as flexible as possible to facilitate that change. If I can’t get to it right away, the client needs to know that. We do our best to make those kinds of experiences go as smoothly as possible.

[tweet_box]Andy Greenberg on building client relationships[/tweet_box]

DS: Who was your first really big client? How did you meet that client?

AG: I think my first really big client was the director Paul Hunter. Though I really didn’t know how big he was at the time. I had mixed the Biggie Smalls video Hypnotize, and a Mariah Carey video, and a Bobby Brown video. He liked working with me and we had done about 6 videos together before I moved up to San Francisco. He had come into the production facility in Los Angeles to do some editing and color correction and found out we had a sound department as well. We got along very well.

DS: Does the client already have a budget in mind? Or does One Union have a minimum rate card?

AG: The best part about my job is I don’t have to worry too much about the client’s budget. I am sure the client has a certain budget amount in mind. They will purchase the time they think it will take to complete the task at hand. One Union has a minimum amount of time we like to book, which is an hour. There are specific rates for the type of work we do. Radio, TV / Video, Surround and ATMOS all have set rates per hour.

DS: Do you have a marketing team to help you find new clients?

AG: We do not have a marketing team. We rely mostly on word of mouth and Google. Over the years we have worked with all the major Advertising Agencies as well as large productions studios. They know us and know we are always up to the task. Recently we have been added to the Dolby network, due to our addition of two Dolby ATMOS suites. This is starting to bring some clients into the facility.

We take sound pretty seriously here

DS: How does union vs. non-union affect which projects you can take on?

AG: As far as commercial work, it has no effect on our ability to do the work or not. When it comes to theatrical work, we can do the work, but in some cases, we just won’t get an official credit.

DS: How many of your clients go back to college or before? How far back do these relationships go?

AG: I went to school on the east coast, so none of the folks I worked with there, work out here.
I have been at One Union for almost 23 years now. I have some clients that have been with me from my start here.

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Game Audio Packs - Game Sound Effects Libraries Spells Variations Vol 4 Play Track 255 sounds included $10.20

Spell Variations Vol. 4 marks the grand finale of our magical sound series, delivering a diverse and powerful collection of spell effects. Inside, you’ll find summonings, blood spells, petrifications, healing spells, dark incantations, and much more!

This volume includes 255 high-quality sound effects, organized into 27 distinct spell types, each with multiple variations (3 to 17) to ensure no spell sounds the same, even when reused across your project.

Each spell type is carefully named and sorted into individual folders, giving you intuitive navigation and maximum flexibility for magical scenes, game effects, or cinematic transitions.

Recorded, edited, and mastered in 192 kHz / 24-bit, these sounds deliver exceptional clarity and full adaptability for pitching, layering, or creative processing.

A must-have library for professional sound designers seeking drag-and-drop magical sounds for video games, trailers, animations, or any audiovisual production.

More about the pack
– Intuitive file naming
– All you’ll ever need regarding magical sounds [Use them again & again
Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
– Totally mono compatibility
– All sounds have several variations.
– Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
– For any questions or problems: khronstudio@gmail.com

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– 255 spell sounds
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– Format: 192KHz / 24 bits
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Unleash pure audio carnage with OVERKILL – a brutally detailed 5.7 GB sound library featuring 3390 hyperreal gore sound effects across 607 files. Whether you’re designing subtle, skin-crawling tension or full-blown splatter mayhem, Overkill gives you the raw, visceral tools to cover the entire spectrum of gore – from nuanced realism to over-the-top brutality.

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A collection of brutally crafted, drag-and-drop sound effects, organized into game-ready actions and categories.
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- Cut: Clean or messy slices delivered by weapons like katanas, knives, machetes, and sabres.
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All following categories are available in both Wet and Dry:
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Our Construction Kit includes:
- Blood: Vile drips, juicy splatters, and bone-chilling squeezes.
- Gut: Rich with drops, impacts, squishes, and visceral movement.
- Flesh: Brutal impacts, rips, strains, and movements.
- Bone: Crisp breaks and sharp snaps.
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All of the Recorded Section was captured at 384KHz with microphones capable of recording up to 200KHz among with more conventional mics. The resulting assets are sounds that can be stretched to new extremes for greater sound design opportunities.
In many cases I took the liberty to slow down the assets while editing the sounds to deliver what I thought was the most useful version of a given recording though in most cases I have also included other takes at the original 384KHz sample rate to get the best of both worlds.

All of the Synthesized Content was created in Serum while the Hybrid Section was created by manipulating the Recorded and Synthesized sounds.

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Bonus: Two extra libraries included for free: This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.

Add to cart
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Carefully crafted over time, these sounds have supported top-tier professionals on projects for Netflix, Warner Bros, Activision, Infinity Ward, the BBC, and more.

With 43GB+ of content and 567 professionally recorded ambiences in 24-bit, 48kHz, and 96kHz, World Ambiences gives creators the tools to build authentic, immersive global soundscapes.

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Hello Creators!

Here’s my new pack: “Fantasy Combat Sounds – Volume 02“

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All this sounds were originally recorded with a Zoom H6 (cardiod microphone), and were edited in Logic Pro X, almost no processing was made, it was mainly editing the recorded material but also I used the plugin “Phaseplant” as a sampler.

Check all my packs on Asoundeffect

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This library contains over 1,500 individual files to choose from and is embedded with UCS Metadata. Don’t delay, fill your collection with these essential horror sounds to keep your audience on the edge of their seats!

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Need specific sound effects? Try a search below:

DS: Are the ad agencies that you work with specific to San Francisco?

AG: No, we work with agencies from all over the country. It’s about the producers or creatives and the actors location that brings the opportunity to us.

DS: Besides advertising, do you take on other projects?

AG: Yes, we do quite a bit of ADR for film and TV. We also do sound for large events for many of the Bay area’s tech companies. Sound for toys, web, phone systems and even short films and documentaries.

Sound Design is serious

Serious about Sound Design: Halloween Edition

How does One Union Recording keep up client relationships?

I think just as important as gear and engineering talent, is the relationship we have with our clients. First, client comfort and amenities are a big priority at One Union. From fast internet, fruit trays, snacks, drinks and comfortable chairs even libations at the end of the day, all these bases are covered. But second and even more critical is a personal relationship with all our clients. It starts with a warm welcome and continues to talking about life and family, even pets. Some of our clients have been with us for over 10, 15 even 20 years and that is because we care about them and their family and friends. We have seen kids grow up and go to college, and producers meet their future spouses and then have children. I even have a client whose daughter became a producer and I worked with her as well. Having your clients know you and trust you and feel comfortable in your studio is a guaranteed path to success.

DS: I think that’s about it. Any final thoughts?

AG: As far as client relationships go, sometimes it’s not about the quality of the job you are able to do, but more about your availability or even the clients physical location. People move around a lot, I always hope to see them again, but I am constantly meeting and working with new people and starting over with building new relationships.

A big thank you to Andy Greenberg for sharing some insight and experience with us, into building client relationships.

Check out Andy Greenberg on IMDb and at One Union Recording.

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Further reading on how to succeed in sound (click to collapse)

Power Lists - essential audio resources and insights:

• The Sound Design Power List

• The Game Audio Power List

• The Film Sound Power List

Succeed in sound:

• How to Set (and Get) the Right Price for Your Audio Work

• 10 Essential Tips for Game Audio Freelancers

• How to be a successful sound designer – with Scott Gershin

• How To Actually Live as an Audio Freelancer – by Melissa Pons

• How to set your sonic creativity free & overcome creative inhibitions – by Mark Kilborn

• 5 Useful Tips for Upcoming Sound Designers and Sound Editors

• Sound Opinions: How to get game audio pricing right

• Building a successful audio post studio – with Kate Finan and Jeff Shiffman

• Rebuilding your studio: Goals, tips and lessons learned

• Creating audio for games – with Martin Stig Andersen

• A life in sound: How to foster creativity and protect yourself from burning out – with Chance Thomas

• Better audio work habits: How a Wacom Tablet can help reduce the risk of Repetitive Strain Injury (RSI)

• Better audio work habits: How a sit & standing desk can reduce your sedentary studio life

• Tips and thoughts on running your own audio post production house – with William McGuigan

• 30+ year audio veteran Andy Greenberg, on building client relationships in the advertising industry

• 7 Sound Alternatives to Working For Free

• Audio Outsourcing Success: Essential Tips, Thoughts and Working Practices from Adele Cutting

The sound success series:
• How to succeed in UI/UX Sound Design, ADR Recording, & Audio Programming

• How to succeed in sound design for Film, Documentaries, and Trailers

• How to succeed in sound design for Games, Animation, and Television

• How to succeed in Field Recording, Foley, and Teaching Sound

• How to succeed in Audio Branding, Music Editing, and sound for VR

• How to succeed in Theater Sound Design, Podcast Sound Design, and Podcast Production

• How to succeed in Sound Editing, Sound for Advertising, and Production Sound

• How to succeed in Sound Editing, Sound for Advertising, and Production Sound

• The Composer Success Series: Composing for Film – ft. Pinar Toprak, Nainita Desai, & Jonathan Snipes

• The Composer Success Series: Composing for TV – ft. Charlie Clouser, Sherri Chung, & Cindy O’Connor

• The Composer Success Series: Composing for Theatre – ft. Elyssa Samsel, Kate Anderson, and Daniel Kluger

• The Composer Success Series: Composing for Games – ft. Inon Zur

Breaking into audio – guides and resources:
• The ‘Quit Aspiring’ book – by Adam Croft

• How to get hired in game audio – thoughts and insights from your potential employer’s perspective

• Why gear is not the ticket to entry in the game audio community

• 4 Effective Ways to Break into Game Audio

• Tips for Creating a Perfect Resume for Audio Industry Jobs

• Yet Another Game Audio Hiring Article – by Ariel Gross

• 5 Tips for Getting a Job in the Audio Industry

• Applying for a job in game audio – by Matthew Florianz

• Freelance Game Audio: Getting Started and finding work – by Ashton Morris

• How to get started (and make it) in game audio – 10+ fundamental questions answered by Akash Thakkar

• Courses: How to network and get paid for your work in the game industry – by Akash Thakkar

• How to Craft a Perfect Cover Letter for Audio Industry Jobs

Finding those audio jobs:
• Get the weekly Audio Jobs newsletter

• Join the Audio Jobs Facebook group

Showcasing your work:
• Get a free profile on Soundlister

• Upload your demos to Soundcloud

• Upload your demos to ReelCrafter

Networking:
• Find game audio community groups around the world

• Find interesting audio events around the world

• Find other audio pros around the world

Coping with a layoff - and how to bounce back:
• How to prepare for – and power through – a layoff in the game audio industry, with Brian Schmidt:

• How to Survive a Game Audio Layoff – insights from Damian Kastbauer

• What it’s like to be laid off from your video game studio

• What To Do Before and After Being Laid Off

• Facebook Group: Survival Skills for Creatives

Education and knowledge:
• Get an audio mentor at the Audio Mentoring Project

• How To Learn Game Audio Online – A talk with Game Audio Educator Leonard Paul

• Hear the very best podcasts about sound

• Read the 100s of sound stories and guides on the A Sound Effect blog (search for stories here)

• Browse Industry Data: Game Music and Sound Design Salary Survey Results

• Browse 100+ Sound Design Guides

• Find essential books about sound – for film, games and audio post production

• Get tips and ideas for making your own sound effects

• Use the Audio Events Calendar to find audio-related events around the globe

• Get a steady stream of great sound stories from the community

• Discover 1000s of sound libraries from the independent sound community

• Take online courses in Wwise, FMOD Studio, Unity, Pure Data & Unreal at the School of Video Game Audio

Getting into independent sound effects:
• DIY SFX libraries - Your guide to your first sound effects library

• Sound effects survey results: Here are 90+ ideas for new SFX libraries

• How to create an indie sound bundle

• The quick-start guide to adding sound FX library metadata

THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:

A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

Game Audio Packs - Game Sound Effects Libraries Spells Variations Vol 4 Play Track 255 sounds included $10.20

Spell Variations Vol. 4 marks the grand finale of our magical sound series, delivering a diverse and powerful collection of spell effects. Inside, you’ll find summonings, blood spells, petrifications, healing spells, dark incantations, and much more!

This volume includes 255 high-quality sound effects, organized into 27 distinct spell types, each with multiple variations (3 to 17) to ensure no spell sounds the same, even when reused across your project.

Each spell type is carefully named and sorted into individual folders, giving you intuitive navigation and maximum flexibility for magical scenes, game effects, or cinematic transitions.

Recorded, edited, and mastered in 192 kHz / 24-bit, these sounds deliver exceptional clarity and full adaptability for pitching, layering, or creative processing.

A must-have library for professional sound designers seeking drag-and-drop magical sounds for video games, trailers, animations, or any audiovisual production.

More about the pack
– Intuitive file naming
– All you’ll ever need regarding magical sounds [Use them again & again
Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
– Totally mono compatibility
– All sounds have several variations.
– Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
– For any questions or problems: khronstudio@gmail.com

Features
– 255 spell sounds
– Number of Audio Waves: 255
– Format: 192KHz / 24 bits
– Win/Mac: Yes
– Minutes of audio provided: 19:21

40 %

OFF

Add to cart
Uncategorized Overkill – Gore And Splatter Play Track 3390 sounds included, 160 mins total $149
Unleash pure audio carnage with OVERKILL – a brutally detailed 5.7 GB sound library featuring 3390 hyperreal gore sound effects across 607 files. Whether you’re designing subtle, skin-crawling tension or full-blown splatter mayhem, Overkill gives you the raw, visceral tools to cover the entire spectrum of gore – from nuanced realism to over-the-top brutality.

DESIGN KIT (360 Sounds – 60 Files)

A collection of brutally crafted, drag-and-drop sound effects, organized into game-ready actions and categories.
- Stab: Precise, piercing attacks with bladed weapons like knives, daggers, and swords.
- Hit: Brutal strikes using blades such as machetes, katanas, and sabres.
- Cut: Clean or messy slices delivered by weapons like katanas, knives, machetes, and sabres.
- Slam: Heavy, crushing blows with blunt weapons like warhammers, morning stars, flails, crowbars – and even axes used with brute force.
- Crush: Full-on head or body crushes – whatever happens when too much pressure turns flesh and bone into pulp.
- Explode: Full-on body explosions – when guts, bones, and blood violently erupt in every direction at once.
All of these categories are featured in both a realistic, organic style and an exaggerated, highly stylized, over-the-top version.

In addition the Design Kit features Projectile Impacts from Guns, Shotguns and Arrows.

BUILDING BLOCKS (384 Sounds – 64 Files)

The goal behind our Building Blocks is to provide pre-designed sound layers that streamline your workflow. We’ve created straightforward, easy-to-use categories that let you quickly build new sounds or enhance your own designs.

All following categories are available in both Wet and Dry:
- Impact: Ideal as punchy sweeteners for heavy weapon hits and brutal moments.
- Whoosh: Quick, clean lead-ins to enhance any kind of gore sound.
- Crack: Perfect for highlighting the snap of shattered bones and broken bodies.
- Tail: Drag and drop to add lingering, gruesome sustain to your gore effects.
CONSTRUCTION KIT (2653 Sounds – 483 Files)

For our Construction Kit, we wanted to give you the best of both worlds to meet (or should we say meat) all your needs. You’ll get cleaned raw recordings for full flexibility in your own processing, plus pre-processed and layered sounds to spark creativity, fuel inspiration, and give you everything you need for hyperrealistic gore design.

Our Construction Kit includes:
- Blood: Vile drips, juicy splatters, and bone-chilling squeezes.
- Gut: Rich with drops, impacts, squishes, and visceral movement.
- Flesh: Brutal impacts, rips, strains, and movements.
- Bone: Crisp breaks and sharp snaps.
- Texture: Hyperrealistic wet and dry constant textures.
- Weapon: Resonant metal slices, stabs, and hits, as well as whooshes for weapon hits and ricochets.
Add to cart
Destruction & Impact Sounds Metamorphosis Play Track 2328 sounds included
Rated 5.00 out of 5
$190

Metamorphosis is a huge collection of recorded source, synthesized material and hybrid sounds. The library was created to cover a wide range of themes, with rich textures, aggressive impacts and a large selection of pass bys, bass drops, pyrotechnics and many more types of material.

All of the Recorded Section was captured at 384KHz with microphones capable of recording up to 200KHz among with more conventional mics. The resulting assets are sounds that can be stretched to new extremes for greater sound design opportunities.
In many cases I took the liberty to slow down the assets while editing the sounds to deliver what I thought was the most useful version of a given recording though in most cases I have also included other takes at the original 384KHz sample rate to get the best of both worlds.

All of the Synthesized Content was created in Serum while the Hybrid Section was created by manipulating the Recorded and Synthesized sounds.

Techniques such as morphing were used to blur the lines in between the nature of the two sources, making for ambiguous yet extremely versatile material that can be employed on both realistic and abstract designs.

Bonus: Two extra libraries included for free: This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.

Add to cart

Explore the full, unique collection here

Latest sound effects libraries:

Bundles World Ambiences Play Track 567 sounds included $199

344 Sound Effects proudly presents World Ambiences, a masterfully crafted collection capturing the sonic essence of some of the world’s most iconic destinations.

This bundle invites you to explore curated ambiences from around the world, captured by our dedicated in-house team. After countless hours of fieldwork, World Ambiences delivers rich, detailed recordings from the USA, Brazil, India, Macao, Hong Kong, Japan, Spain, the Netherlands, Iceland, Greece, Bulgaria, Romania, and Serbia.

Experience the vibrancy of American life, from bustling markets in Orlando and serene forests in Connecticut to the urban-rural blend of Washington and Oregon, including rainforest wildlife, farm rides, ocean scenes, and Portland’s city buzz. Not to mention the iconic pulse of Chicago, subway rides, and classic American traffic.

Hear the natural chorus of Brazilian cicadas, then cross to East Asia for markets, public spaces, and coastal cityscapes from Japan, Hong Kong, and China. Head further west to India, where the lively soundscape includes highways, temples, busy streets, train stations, and atmospheric public spaces.

In Europe, soak up the energy of Madrid’s Casa de Campo and Atlético fans, or discover the charm of Amsterdam’s city center. For a quieter touch, the lush Irish countryside awaits. Eastern Europe offers a rich mix of city life, traffic, wetlands, and hotel ambiences from Bulgaria, Romania, and Serbia. And finally, experience the coastal beauty of Crete and Iceland’s waterfalls, town centers, beaches, and geothermal eruptions.

Carefully crafted over time, these sounds have supported top-tier professionals on projects for Netflix, Warner Bros, Activision, Infinity Ward, the BBC, and more.

With 43GB+ of content and 567 professionally recorded ambiences in 24-bit, 48kHz, and 96kHz, World Ambiences gives creators the tools to build authentic, immersive global soundscapes.

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Environments & Ambiences Sub-Antarctic Winds Play Track 108 sounds included, 319 mins total $150

A powerful collection of 108 extreme wind ambiences, recorded on a remote sub-Antarctic research station in the Southern Ocean by Andy Leeder.

Ranging from 50 to 150km per hour gusts, Sub-Antarctic Winds delivers raw recordings of both interior and exterior storms — including howling winds with open doors, turbulent gusts outside, and reverberant building-shaking hollows.

Captured over a full 12 months, you’ll hear the strongest southern ocean winds and storms of the year. From locations across the island, inside a vast array of research station structures, and outside in the elements among the cold, sands and tussocks.

These wind ambiences will be perfect for setting the scene in wild weather films, games and other projects. They impose a powerful environment and lend authenticity to any extreme moment you create, indoors or outdoors, or even otherworldly winds with recordings from unique research station locations.

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Destruction & Impact Sounds Fantasy Combat Sounds – Volume 02 Play Track 116 sounds included $10

Hello Creators!

Here’s my new pack: “Fantasy Combat Sounds – Volume 02“

The approach for this pack was to create some special weapon & combat sounds suitable for RPG/Fantasy video games (although this sounds can be used in different audiovisual creations)

In this pack there are:

– Slashes, magic swords, different special attacks…
– Impacts, hits, magic impacts, etc…
– Arch sounds

Related Packs (created by me)

Fantasy Combat Sounds
Sword Combat Sounds (Weapons)
Anime Combat Sounds

Making-Off

All this sounds were originally recorded with a Zoom H6 (cardiod microphone), and were edited in Logic Pro X, almost no processing was made, it was mainly editing the recorded material but also I used the plugin “Phaseplant” as a sampler.

Check all my packs on Asoundeffect

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Bundles Musical Textures Play Track 863 sounds included $179

Experience the fusion of music and sound design with, Musical Textures, the latest cinematic sound effects bundle from 344 Audio. This collection reimagines musical instrument recordings as rich, expressive sound design elements, delivering an inspiring toolkit that bridges the worlds of music and filmic storytelling.

This is not a music library — it’s something tonal, textural, and uniquely crafted to bring musicality into the realm of cinematic sound design.

After months of tireless work, the 344SFX team, (with the involvement of skilled musicians), captured performances from electric guitars, bells, chimes, gongs, harps, percussion and more, then meticulously transformed them into a stunning range of designed assets. The result is a library that blends musical expression with cinematic sound design, delivering sounds that feel both organic and otherworldly — ready to enhance emotion, tension, and atmosphere across your creative projects.

Inside, you’ll discover a rich tapestry of cinematic textures: swelling risers sculpted from cymbals, thunderous hits shaped from singing bowls and percussive elements, and sharp, melodic stingers inspired by East Asian instruments. Long, enveloping drones, crafted through inventive sound design — add tension and atmosphere, while deep subs, lush pads, ethereal ambiences, and harmonic tonal beds bring emotional depth and tonal complexity. You’ll also find a selection of short, expressive musical performances, ideal for transitions, title cards, or scene changes that call for a nuanced, human touch.

Whether you’re building transitions, accenting key moments, or shaping immersive soundscapes, Musical Textures adds tonal richness and cinematic character to your design palette.

Every sound has been meticulously crafted by our in-house audio artisans, making this library ideal for sound designers working in film, television, trailers, and games.

With 863 sound effects, totaling 30.4GB, and delivered in both 24-bit / 96kHz and 192kHz, each file is embedded with UCS metadata for easy integration into your workflow.

Musical Textures is your toolkit for expressive, tonal, and cinematic sound design, where instruments become atmosphere, and melody becomes motion.

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Bundles Ultimate Horror Play Track 1550 sounds included $199

The Ultimate Horror sound effects library from 344 Audio is designed to empower creators with the spine-chilling elements of horror.

With high-quality recordings, this collection has everything you need to fill your projects with intense gore, eerie atmospheres, and heart-pounding jump scares. Perfect for emulating a haunting ambience, or providing gruesome creature sounds for a zombie apocalypse film, this collection ensures your projects will never lack the terrifying sonic textures they deserve. Make your work truly unforgettable with the Ultimate Horror sound effects library — the essential collection for any slasher movie enthusiast.

This library contains over 1,500 individual files to choose from and is embedded with UCS Metadata. Don’t delay, fill your collection with these essential horror sounds to keep your audience on the edge of their seats!

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