Ad Astra Foley Film Sound Asbjoern Andersen


Space-drama Ad Astra continues to draw in audiences, holding the top spot on international box office charts for the second week in a row. The story follows the journey of Roy McBride (Brad Pitt) who seeks his estranged father lost in the outer reaches of the solar system.

Here, Foley supervisor/artist Heikki Kossi talks about how Foley played a key role in keeping the audience close to McBride, helping to relay his physical and mental experience. He also presents some of the many approaches, techniques and (surprising) props used for the film - and highlights what's essential to great Foley:


Interview by Jennifer Walden, photos courtesy of 20th Century Fox & Clas-Olav Slotte
Please share:
Video Thumbnail

In director James Gray’s Ad Astra — in theaters now — traveling to the moon is just as taxing as traveling from Singapore to Newark, New Jersey. It’s a long, non-stop flight, aboard which a flight attendant may supply you with a stiff pillow and slightly too-small blanket for an astronomical fee. There may be points of interest visible from a tiny, hand-print smeared portal window. In the terminal, lines of weary travelers dot the escalators and are strung out around the baggage claim carousel. It’s the polar opposite of last year’s lunar expedition in First Man. Space travel is more common place in Ad Astra. There are even connecting flights from the Moon to Mars and beyond.

Unlike First Man, it’s not the journey to space that makes Ad Astra interesting; it’s the journey that happens inside a person once they’re out in space. The infinity of the universe makes one feel infinitesimal and ultimately self-aware. And it’s that close, personal, intimate presence that director Gray wanted to express to the audience, which Foley Artist and Supervisor Heikki Kossi and his team at H5 Film Sound in Kokkola, Finland achieved through their work.

Feeling and performance are the cornerstones of Kossi’s approach to Foley. Here, he talks about creating layers of textures that added depth to the reality of the world on screen and resonant sounds that extended into the realm of subjectivity. He shares insight on his prop selection — like old machines and old pilot suits — that provided inspiration for the sound of futuristic space tech and gear.
 

Ad Astra Foley Artist Heikki KossiCan you tell me about your collaboration with supervising sound editors Gary Rydstrom and Brad Semenoff? What were their goals for Foley on Ad Astra?
Heikki Kossi (HK): Actually, I started working on Ad Astra in April of 2018. At that time, the supervising sound editors were Doug Murray and Robert Hein. Later on, Gary [Rydstrom], Brad [Semenoff], and Tom Johnson at Skywalker Ranch came in. We made a first Foley pass before the end of June that year, with some pickups later in the autumn and some last pickups that we did in June this year.

… we discussed subjectivity and perspective, for example when we are inside the spacesuit and how we feel resonation and different movements…

We had a real creative and inspiring talk with Doug, Bob [Hein] and director James Gray. We started talking about the sound in space generally and agreed that in space you don’t hear anything. But at the same time, we discussed subjectivity and perspective, for example when we are inside the spacesuit and how we feel resonation and different movements inside the suit. James said that he wanted to have the feeling of body hair and a real intimate presence of the person inside the suit. Also, the changes of gravity in different planets were an interesting subject to talk about.

I tried to keep in mind what the texture of objects in the future would sound like.

I’ve worked with Doug Murray previously, and I really like his open thoughts for sound design with Foley and I felt that we were free to create different textures for other things, like resonation of the spaceship when needed. During the process, I tried to keep in mind what the texture of objects in the future would sound like. Like James Gray said, “I wanna hear something I’ve never heard before.”

 

For the space sequences, what were your guidelines for Foley? How did that impact your choice of props or your recording techniques for those sequences?
HK: Like I said earlier, this was such a great challenge. We made careful spotting notes of when we needed to have just sound through the space suit, natural sound, or both. Or just resonation — a sound that is felt inside the suit. Our workflow was so that we first did the realistic sounds and then I used headphones to listen to those sounds while at the same time doing the sound for the same moment inside the spacesuit. The Foley editing also played an important role.

I wanted it to sound more like some material from the future which does not even exist yet.

We had the idea that, in the mix, it is possible to play around with total subjectivity. In terms of props, I was thinking that they shouldn’t sound too much like metal, even though they look like that in the images. I wanted it to sound more like some material from the future which does not even exist yet. For sounds inside the space suit or resonation inside the suit, I used a lot of contact microphones, specifically the Schertler Dyn-Uni-P48 Contact Microphone.

 

Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
  • Destruction & Impact Medieval Battle Play Track 100 sounds included $26

    Medieval Battle contains a wide variety of sounds taken straight from the battlefield. Unleash the full force of your army with effects from a diverse range of medieval weaponry, crowds, horses and battle charges. There are also battle cries, screams and shouts to make the audience feel like they are right there on the frontlines. To bring you the most organic and natural battle sounds, we recorded actors performing in a quiet exterior location. All sounds were recorded in 24Bit 96kHz, allowing for further sonic manipulation.

    If you think your sound collection is in need of some reinforcements then this is the library for you! Medieval Battle is ideal for use in Film, TV and Game projects, and will make a perfect addition to your sound design arsenal.

    Here are the included folders:

    Crowds: Crowd rushes and static battle cries in a natural exterior location make these effects perfect for building the bed of a huge Medieval warzone.

    Female Voices: 4 individual female actors perform multiple vocalisations including screams, grunts and efforts.

    Sword & Shield Hits: A variety of sword and shield hits performed by weapons and combat experts.

    Male Voices: 4 individual male actors perform multiple vocalisations including screams, grunts and efforts.

     

    Add to cart
  • Cars Vehicles Pass-by Play Track 90 sounds included, 23 mins total $15

    Cars, trucks, motorcycles at different speeds on a rural road in the middle of nowhere during summer.
    From left, from right, from both sides, single vehicle or several at the same time.

    Recorded simultaneously with an ORTF and a AB microphone stereo pairs.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    Add to cart
  • Destruction & Impact Rocks & Debris Play Track 160 sounds included $40 $30

    Crisp, clean, crunchy and closely mic’d impacts with various types of pebble and dust debris.

    I recorded all these sounds with my brothers during a trip home to Ireland.
    Close to our home (out in the middle of nowhere), there is a little quarry with a lot of sand, dust, stones, rocks and some grass. There was also a broken plough there that gave some nice stone on metal impact sounds.

    Equipment:
    2 Line Audio OM1s
    2 Line Audio CM3s
    Røde NTG3
    Tascam DR100

    25 %
    OFF
    Add to cart
  • Motorcycles BSA M20 1940 Motorcycle Play Track 322 sounds included $249

    Recording of a BSA M20 WW2 motorcycle with a 1 cylinder 500cm3 engine with 4 gears.

    The BSA M20 WW2 motorcycle sound collection features 322 sounds in 12.02 gigabytes of audio. It showcases a British 1940 Birmingham Small Arms Company military bike and the sound of its 1 cylinder 500cm3 engine with 4 gears.

    The sound bundle offers 20 synchronized recordings of onboard, exterior, and performed sound fx. The 7 onboard perspectives record sounds from the engine, exhaust, and onboard locations such as the seat and frame, all of which are also mixed into three pre-rendered tracks with driving at steady RPM, ramps, and gearshifts. The 9 exterior perspectives include turning on and off, departing, arriving, and passing from multiple perspectives and distances from slow to fast speeds. These are paired with performed Foley of handlebar clutch and brake, kickstarting, and more.

    The package includes Pro Tools and Reaper mixing sessions, as well as full metadata embedded in every clip.

    Add to cart
  • Destruction & Impact Sci-Fi Guns Sounds Play Track 146 sounds included $20 $14.99

    Sci-fi Guns Sounds

    146 modern guns sound effects divided into more than 15 different types of guns:

    – Electric Revolver
    – Cannon Gun
    – Blaster Rifle
    – Low Gun
    – Alien Guns
    – Automatic Gun
    – Old Shotgun and Old Cannon Shots
    – Explosive Gun
    – Grenades
    – Compressed Air Gun
    – And many more… Check the Tracklist PDF to see the full list of sounds included in the pack

    Soundcloud Preview
    Tracklist PDF

    More about the pack:

    – Apart from shot sounds, there are reloading & handling sounds

    – There’s also the ”Stab” sound and the ”Hit Marker” sound.

    – There are single-shot sounds but also loops (Rotary cannon)

    – These SFX are suitable for Sci-Fi games but also for warfare, modern warfare ones.

    – Intuitive file naming

    – All you’ll ever need regarding Sci-Fi Gun Sounds

    [Format]
    All files are in:

    WAV – Stereo  44.1 Khz, 16bit
    OGG – Stereo  44.1 Khz, 16bit

    [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.

    [Professional audio services]

    For custom music, sound design, sound engineering or any other game audio services, please send a mail to: audioalchemiststore@gmail.com

    25 %
    OFF
    Ends 1579647599
    Add to cart


Need specific sound effects? Try a search below:
 
Want more stories like this? Follow A Sound Effect:
 
                              

What props did you use for the spacesuit Foley? What was the most challenging spacesuit sound to Foley?
HK: I had really inspiring talks with my dear friend Nicolas Becker, who did the Foley for Gravity. He had a real spacesuit for the Foley. For me, that wasn’t possible but it wasn’t any problem. I was more interested in discussing the feeling and materials of the spacesuits. I also called some space experts and we had really interesting talks about space travelling, etc.

I found that when using an actual suit it was too complicated to control the sound and positioning of mics when doing the Foley but this process made my vision stronger and it was clear to me how it should sound.

I tried some diving suits and even an old Russian pilot suit, which should work the same way with pressure like a real spacesuit. I found that when using an actual suit it was too complicated to control the sound and positioning of mics when doing the Foley but this process made my vision stronger and it was clear to me how it should sound. The ideas from James were already there as a real inspiration. And these experiments I just described took only an hour or so.

I ended up using several different pairs of gloves, putting the mics inside, and I did the same kind of setup with a helmet. And all the while, I was listening through headphones to the sound I was making.

Foley mixer Kari Vähäkuopus also helped to keep things focused and did a great job keeping these different layers separated sound-wise. And finally, Foley editor Pietu Korhonen blended these layers together. Of course a lot of things happened after we finished the job but I think we managed to give a pretty good picture of what our ideas were for different perspectives.
 

Video Thumbnail

The official behind-the-scenes video for Ad Astra

How did you create the sound of Roy’s (Brad Pitt) feet on the ladder of the International Space Antenna in the beginning of the film?
HK: I used heavy snow boots and recorded one track with the contact mic inside the boot under my heel, trying to get the feeling of a whole body resonating. Then we recorded another track to give just a bit more attack and feeling of the surface. This realistic layer was recorded with a good old Neumann KMR81. I wanted to do it this way. I felt that it’s a more organic approach than doing it with all the mics on one take. It was fascinating to work against a sound I just made a bit earlier.
 

Did you Foley the button touches on the space ships? What was used for those sounds?
HK: Yes, we did all those, concentrating on their focus and presence. I used different kinds of old and crappy props I have at the studio. I think this is a good example of the meaning of the performance when doing Foley. Maybe the prop isn’t close to the real object but acting out the sound right, with a good performance and rhythm, makes the sound right. And I tried to give texture for each button. If the button is on top a console, I tried to position the prop so that the feeling of a console is a small part of the sound.

Maybe the prop isn’t close to the real object but acting out the sound right, with a good performance and rhythm, makes the sound right.

It’s also a great example of the artistic value of Foley work. It’s the art of Foley. Of course, there are also sound effects used. It’s best when Foley and effects help each other. As a guideline, we had the idea of when the helmet is on and the visor is closed we do the Foley also resonating through the spacesuit.

 

How about the buttons on the nuclear weapon on the LIMA mission spacecraft? What did you use for those sounds?
HK: Some old crappy props. At the industrial area where my studio is located, in a trash can I found some kind of metering machine that’s the size of a PD4 DAT-machine. It’s old and made from metal and its sounds have good body. As always, it’s old and that’s why it’s also well made ;)

Also, the sound through the suit blended with a realistic sound, and that made the buttons sound pretty interesting.
 

Did you have to walk in heels for Helen’s (Ruth Negga) footsteps at the Mars base camp? Do you have a comfy pair you like to use?
HK: Yes indeed. I used one pair of my favorite ladies’ boots and just walked. Great acting and great body movement is something where the performance is so present. Actually, we recorded her feet in a hallway with natural reverb. We are very happy to have this kind of option at the studio.
 

Besides the heels, were there any other challenges in doing Foley for the footsteps or the cloth pass?

When talking about Foley generally, the biggest challenge is to get the performance right.

HK: When talking about Foley generally, the biggest challenge is to get the performance right. With Ad Astra, the feet and cloth rustle were pretty basic. The unique thing was the feet, movements and resonations recorded inside the spacesuit, which needed some extra work with the mics.

Careful spotting really helped and the recording process was very organized, giving more room in the schedule for creativity. In the scenes on the Moon and Mars, I tried to perform the feet so that different gravity changed the sound a bit. Also, the shoes were a bit softer.
Ad Astra Sound 1

Were there Foley effects that the sound supervisors wanted you to cover on Ad Astra?

HK: Like I said earlier, there were some textures we did for the rattling space ships. The sound editors took care of the big space ship motors, etc. and the Foley added some textures for the things we see, like rattling consoles, a rattling helmet, a rattling bench, etc.

In some places, I did the realistic rattling sound first and then we played that back through a small solid drive speaker and I was controlling the speaker and the amount of resonation felt through the suit. I feel that this was definitely a very organic way of using Foley technique and art. James Gray had this great idea that in Ad Astra space travel is more or less an everyday thing and I felt that the space ships can sound in some places more like rock ’n roll flying, you know.

When creating the rattles, I did most of them just by handling and shaking the props. But I also used Foley technique by playing around with the KOMA Field Kit – Electro Acoustic Workstation. With KOMA, it’s possible to control the resonation speed, intensity, and pressure against different surfaces while watching the movement. I feel that this way of doing Foley is really inspiring and it’s definitely the art of Foley in the deepest meaning.

Using a water tub and a hydrophone always opens some new paths. Just tapping around the tub gives interesting resonations through the hydrophone.

What was the most challenging scene for Foley? Why? What went into it?
HK: I don’t know which was the most challenging but the sequence at the VESTA IX included a lot of different perspectives and intimate feeling. I always feel that the challenges — if there are any — relate more to the performance than to the exact sound. Kari also did an amazing job with different mics and following the perspective changes when jumping in and out of the suit.

I always feel that the challenges — if there are any — relate more to the performance than to the exact sound.

Also the underwater scene was great to work with. Using a water tub and a hydrophone always opens some new paths. Just tapping around the tub gives interesting resonations through the hydrophone.

 

What was the most challenging single sound to Foley? Why? What went into it?
HK: On Mars there is a scene in the room with no reverb (Anechoic chamber). Again, maybe it’s about the performance but also the challenge to sound really dry and claustrophobic that felt interesting.

The scene on the International Space Antenna was also challenging because that was the time we were creating the “rules” and Foley method for the rest of the film.
 

What is one thing that other Foley artists would find surprising about your work on Ad Astra?

HK: I feel that creating texture-like sounds for things which are around but can strongly affect the feeling of the image and the atmosphere of the scene are something surprising. That’s my experience. I’m also lucky to have such a great team with me, with Foley editor Pietu Korhonen and Foley mixer Kari Vähäkuopus. Quite often I hear, “Don’t do this; it’s hard effects.” But Foley can give some extra flavor to the effects. Of course you need to be conscious of the time you’re able to use for the project.

…my collaboration with Danish sound designer Peter Albrechtsen has been a great journey into the world of breaking the rules.

I want to say that my collaboration with Danish sound designer Peter Albrechtsen has been a great journey into the world of breaking the rules. “There needs to be texture,” he always says. I love it. Another thing is the creative talks with sound artist Nicolas Becker about being organic and crazy.

Overall, after seeing the final film, I strongly feel that making Ad Astra was a process of creating a style that follows the story and the director’s vision. I’m pretty sure that having these Foley elements afforded great possibilities to play around with subjectivity which was not just a few frames or moments here and there. The final mix strongly supports the story from the very first frame to the last one, and includes great decisions on using sound.

A big thanks to Heikki Kossi for the story behind the magnificent Foley for Ad Astra – and to Jennifer Walden for the interview!

 

Please share this:


 


Bonus: Learn more about the art of Foley:

 

Want to know more about Foley sound? Check out these excellent videos:

Meet the Foley team at Skywalker Sound:

Video Thumbnail

 

Inside the Pinewood Foley Studio

Video Thumbnail

 

How movie sound effects are made – with Foley artist Marko Costanzo

Video Thumbnail

 

Recording Foley Sound Effects for ‘The Night Manager’

Video Thumbnail

 

Foley Artists – How Movie Sound Effects Are Made

Video Thumbnail

 

The Magic of Making (Foley) Sound

Video Thumbnail

 

Uncover The Secret World of Foley – with Foley Artists Pete Burgis & Sue Harding:

Video Thumbnail
 
 
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:
 
 
  • Footsteps Gamemaster Pro Sound Collection Play Track 8076 sounds included, 189 mins total $49 $47

    Pro Sound Collection is the highest quality and most affordable sound library you will find. The ultimate collection of 8076 ready to use sound effects!!!

    This is the perfect collection of sounds for all types of sound designers, game developers and video editors who need a large range of high quality sound effects ready to use. Designed specifically for games, film and other media by award winning sound designers.

    What’s included? EVERY sound Gamemaster Audio ever made! ALL our other other sound libraries (plus other sounds) have been packed into in this amazing sound collection.

    Pro Sound Collection Includes:
    Fun Animal Voices $25
    Explosion Sound Pack $10
    Footstep and Foley Sounds $10
    Fun Casual Sounds $15
    Fun Character Voices $10
    Gun Sound Pack $19
    Guns, Bullets and Explosions $35
    Human Vocalizations $25
    Magic and Spell Sounds $25
    Punch and Combat Sounds $29
    Retro 8 Bit Sounds $15
    Sci-Fi Sounds and Sci-Fi Weapons $25
    Silenced Gun Sounds $25
    Troll Monster Vocalizations $10

    Total value $278!!!

    Sound Categories:

    • Alarms • Ambience • Animals • Beeps • Bullets • Buttons • Cartoon • Cinematic • Collectibles • Comedy • Doors • Electricity • Explosions • Fire • Foley • Footsteps • Guns • Hums • Items • Levers • Magic • Misc. • Nature • Powerups • Punches • Retro/8Bit • Sci-Fi • Snow / Ice • Switches • User Interface • Voice • Water • Weapons • Whooshes + MANY MORE!

    4 %
    OFF
    Add to cart
  • Destruction & Impact Cinematic Gore Play Track 600+ sounds included $55

    If you need sounds of gore, this SFX collection is truly something special. Delivering more than 600 sounds of blood, guts, bone breaks, sword and knife stabs and cuts, splatters, spurts, flesh tears, impacts – and sawing – its gets you a brutally effective collection of sounds to work with, both raw and designed.

    Add to cart
  • Aircraft - Jet/Propeller Planes Sounds Of Flight Play Track 110 sounds included $25

    An eclectic collection from my extensive archive: Jumbo Jets, Military Fighters, War-birds, Helicopters and Bi-Planes. From an F-16 to a Tiger Moth – it’s all here.

    Includes recordings of the following airplanes:

    Boeing 747 • BAC 1-11 • Cessna • Douglas C-47 • F-16 • F-86 • Fennec T-28 • Lancaster Bomber • P51 Mustang • RAF Tornado • Spitfire Mk IX • Tiger Moth

    Includes recordings of the following helicopters:
    Hawker Hurricane • Chinook Helicopter • Sea King Helicopter • Westland Lynx Helicopter
    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Destruction & Impact Medieval Battle Play Track 100 sounds included $26

    Medieval Battle contains a wide variety of sounds taken straight from the battlefield. Unleash the full force of your army with effects from a diverse range of medieval weaponry, crowds, horses and battle charges. There are also battle cries, screams and shouts to make the audience feel like they are right there on the frontlines. To bring you the most organic and natural battle sounds, we recorded actors performing in a quiet exterior location. All sounds were recorded in 24Bit 96kHz, allowing for further sonic manipulation.

    If you think your sound collection is in need of some reinforcements then this is the library for you! Medieval Battle is ideal for use in Film, TV and Game projects, and will make a perfect addition to your sound design arsenal.

    Here are the included folders:

    Crowds: Crowd rushes and static battle cries in a natural exterior location make these effects perfect for building the bed of a huge Medieval warzone.

    Female Voices: 4 individual female actors perform multiple vocalisations including screams, grunts and efforts.

    Sword & Shield Hits: A variety of sword and shield hits performed by weapons and combat experts.

    Male Voices: 4 individual male actors perform multiple vocalisations including screams, grunts and efforts.

     

  • Cars Vehicles Pass-by Play Track 90 sounds included, 23 mins total $15

    Cars, trucks, motorcycles at different speeds on a rural road in the middle of nowhere during summer.
    From left, from right, from both sides, single vehicle or several at the same time.

    Recorded simultaneously with an ORTF and a AB microphone stereo pairs.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
  • Destruction & Impact Rocks & Debris Play Track 160 sounds included $40 $30

    Crisp, clean, crunchy and closely mic’d impacts with various types of pebble and dust debris.

    I recorded all these sounds with my brothers during a trip home to Ireland.
    Close to our home (out in the middle of nowhere), there is a little quarry with a lot of sand, dust, stones, rocks and some grass. There was also a broken plough there that gave some nice stone on metal impact sounds.

    Equipment:
    2 Line Audio OM1s
    2 Line Audio CM3s
    Røde NTG3
    Tascam DR100

    25 %
    OFF
  • Motorcycles BSA M20 1940 Motorcycle Play Track 322 sounds included $249

    Recording of a BSA M20 WW2 motorcycle with a 1 cylinder 500cm3 engine with 4 gears.

    The BSA M20 WW2 motorcycle sound collection features 322 sounds in 12.02 gigabytes of audio. It showcases a British 1940 Birmingham Small Arms Company military bike and the sound of its 1 cylinder 500cm3 engine with 4 gears.

    The sound bundle offers 20 synchronized recordings of onboard, exterior, and performed sound fx. The 7 onboard perspectives record sounds from the engine, exhaust, and onboard locations such as the seat and frame, all of which are also mixed into three pre-rendered tracks with driving at steady RPM, ramps, and gearshifts. The 9 exterior perspectives include turning on and off, departing, arriving, and passing from multiple perspectives and distances from slow to fast speeds. These are paired with performed Foley of handlebar clutch and brake, kickstarting, and more.

    The package includes Pro Tools and Reaper mixing sessions, as well as full metadata embedded in every clip.

  • Destruction & Impact Sci-Fi Guns Sounds Play Track 146 sounds included $20 $14.99

    Sci-fi Guns Sounds

    146 modern guns sound effects divided into more than 15 different types of guns:

    – Electric Revolver
    – Cannon Gun
    – Blaster Rifle
    – Low Gun
    – Alien Guns
    – Automatic Gun
    – Old Shotgun and Old Cannon Shots
    – Explosive Gun
    – Grenades
    – Compressed Air Gun
    – And many more… Check the Tracklist PDF to see the full list of sounds included in the pack

    Soundcloud Preview
    Tracklist PDF

    More about the pack:

    – Apart from shot sounds, there are reloading & handling sounds

    – There’s also the ”Stab” sound and the ”Hit Marker” sound.

    – There are single-shot sounds but also loops (Rotary cannon)

    – These SFX are suitable for Sci-Fi games but also for warfare, modern warfare ones.

    – Intuitive file naming

    – All you’ll ever need regarding Sci-Fi Gun Sounds

    [Format]
    All files are in:

    WAV – Stereo  44.1 Khz, 16bit
    OGG – Stereo  44.1 Khz, 16bit

    [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.

    [Professional audio services]

    For custom music, sound design, sound engineering or any other game audio services, please send a mail to: audioalchemiststore@gmail.com

    25 %
    OFF
    Ends 1579647599
 
FOLLOW OR SUBSCRIBE FOR THE LATEST IN FANTASTIC SOUND:
 
                              
 
GET THE MUCH-LOVED A SOUND EFFECT NEWSLETTER:
 
The A Sound Effect newsletter gets you a wealth of exclusive stories and insights
+ free sounds with every issue:
 
Subscribe here for free SFX with every issue

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.