Advertising Sound Business Asbjoern Andersen


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
Please share:
 

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.
 


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


Trending right now:

  • Spell Variations Vol. 3 brings a fresh wave of magical creativity and sonic variety. This collection dives deep into the mystical realm, offering everything from shimmering chime spells and celestial choirs, to demonic voices that feel torn from the depths of hell, along with earth-based magic, electric spells, powerful invocations, and more.

    Inside, you’ll find 247 sound effects across 27 distinct types of magic, each with multiple variations. As with our previous volumes, these variations ensure each spell feels unique, even when reused throughout different moments in your project.

    Each spell type is neatly organized into individual folders, giving you total flexibility when designing magical scenes, gameplay effects, or transitions. Whether you need a subtle magical aura or a powerful blast, you’ll have the perfect sound at your fingertips.

    All sounds were recorded, edited, and mastered at 192 kHz / 24-bit, delivering high-end quality and broad adaptability. This library is perfect for professional sound designers and creators looking for high-quality, drag-and-drop magical sounds for 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

    Khron Studio - Spells Variations Vol 3
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    Animal Hyperrealism Vol III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.

    The sounds were recorded in zoos and wildlife centers. The asset list includes but is not limited to: european red deers, monkeys, reindeers, hornbills camels, crickets, tamarins, boars, frogs, red ruffed lemurs, parrots, and many more.

    The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
    Part of the cheats section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
    All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    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.
  • Animal Sound Effects Collections Animal Hyperrealism Vol II Play Track 2000+ sounds included $170

    Animal Hyperrealism Vol II is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: amur leopards, bottlenose dolphins, californian sealions, pacific walruses, red ruffed lemurs, owls, parrots, dwarf little fruit bats, hamsters, guinea pigs and many more.

    The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
    A special section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was actually used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
    All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    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.
  • ‘Tiny Transitions’ deivers 275 short Whooshes and other Transition sounds. Instead of the huge, more cinematic transitional sounds that you are accustomed to hear from SoundBits, this sound pack focuses more on the smaller, not-so-intrusive production elements that come in very handy for any Sound Designer, All-In-One Film Editor or Web-, App- and Game-Developers.

    All these small motion-supporting elements that you need in your everyday work for game menus, apps, general motion designs, … or as parts of more complex moving stuff.

    You get 275 designed sounds + a selection of 290 cleaned and edited source sounds that were used to design the Tiny Transitions. These sounds are mostly different props that are scraping or sliding on different surfaces and also some vocalized whoosh attempts.

    All source sounds were recorded with Sonosax SX-R4+ and Sennheiser MKH8050+MKH30 M/S rig.

    All sounds come with embedded Soundminer Metadata.

    50 %
    OFF

Latest releases:

  • Enhance your game with the UI Menu RPG Sound Effects Pack, featuring 174 carefully designed sound effects. Created for high-quality user interface interactions, this pack includes sounds for select, deny, and access actions, perfect for RPGs and other genres. But these versatile effects go beyond just menus—they can be used to elevate action, skills, magic, combat, motion, and more. Whether you’re building intricate gameplay systems or immersive user interfaces, this extensive collection offers the dynamic, rich sounds you need to bring your project to life.

    Features:

    •  174 universal user interface sounds for any type of game
    • High-quality sounds for the most commonly used categories
    • Can be used not only for UI, but perfect for any genre
  • Elevate your game with this Transmission/Glitchy sound effects pack, designed to add a dynamic, futuristic edge to your project. Perfect for enhancing the user experience, these high-quality, glitch-inspired sounds are ideal for creating technical malfunctions, digital disturbances, or sci-fi-themed environments. Whether you’re working on a cyberpunk game, a tech-heavy adventure, or any project in need of glitchy, electronic audio, this pack will help you immerse your audience with compelling, atmospheric effects that bring your digital world to life.

    Features:

    •  Transmissions
    •  Glitches
  • Environments & Ambiences Fantasy Jungle Ambiences Play Track 18 sounds included, 60 mins total $17.99

    Enter the mystical heart of an ancient, otherworldly wilderness with Fantasy Jungle — a curated collection of 18 designed stereo ambience tracks, totaling 1 hour, 31 minutes, and 41 seconds of immersive fantasy jungle soundscapes.

    Each track is a richly textured sonic environment where strange birds call from the treetops, mysterious creatures chirp and chatter in the shadows, and the soothing sounds of flowing water, rustling leaves, and gentle winds form a vivid natural backdrop. This ambience set is ideal for adding depth and life to fantasy worlds, game environments, audio dramas, or creative writing sessions.

    Crafted with care and detail, all files are delivered in high-quality stereo WAV format, with embedded metadata for easy organization and integration into your workflow.

    Product Features:

    ·          18 stereo WAV files

    ·          Total runtime: 1:31:41

    ·          Fantasy wildlife & jungle ambience – strange birds, unknown creatures, wind, and water

    ·          Metadata embedded for seamless library management

    ·          Loopable-friendly for continuous playback

    ·          Perfect for RPGs, games, film, podcasting, and immersive storytelling

    Let Fantasy Jungle breathe life into your magical worlds — where every chirp, breeze, and ripple tells a story beyond the veil of the ordinary.

  • Household Sound Effects Extra Coins Play Track 179 sounds included, 24 mins total $9.99

    EXTRA COINS – is an auxiliary sound library containing 179 unique sound effect files of real metal coins. From spare change and coin sacks to individual coins being handled and dropped. Whether it’s metallic clanking and ringing or the old familiar sound of a hand full of coins you’re looking for; This Extra sound effects library will help supplement any of your coin money needs, for your next project. Extra Coins comes in at over 24 minutes and was recorded at 192kHz / 32bit using an ultrasonic microphone. All of our libraries comply with the Universal Category System naming convention standard, allowing for accurate and easy granular searches.

    50 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

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.

 

Please share this:


 


 


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:

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Showcasing your work:
 
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• 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:

  • Animal Sound Effects Animal Hyperrealism Vol III Play Track 1711 sounds included $170

    Animal Hyperrealism Vol III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.

    The sounds were recorded in zoos and wildlife centers. The asset list includes but is not limited to: european red deers, monkeys, reindeers, hornbills camels, crickets, tamarins, boars, frogs, red ruffed lemurs, parrots, and many more.

    The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
    Part of the cheats section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
    All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    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.
  • Spell Variations Vol. 3 brings a fresh wave of magical creativity and sonic variety. This collection dives deep into the mystical realm, offering everything from shimmering chime spells and celestial choirs, to demonic voices that feel torn from the depths of hell, along with earth-based magic, electric spells, powerful invocations, and more.

    Inside, you’ll find 247 sound effects across 27 distinct types of magic, each with multiple variations. As with our previous volumes, these variations ensure each spell feels unique, even when reused throughout different moments in your project.

    Each spell type is neatly organized into individual folders, giving you total flexibility when designing magical scenes, gameplay effects, or transitions. Whether you need a subtle magical aura or a powerful blast, you’ll have the perfect sound at your fingertips.

    All sounds were recorded, edited, and mastered at 192 kHz / 24-bit, delivering high-end quality and broad adaptability. This library is perfect for professional sound designers and creators looking for high-quality, drag-and-drop magical sounds for 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

    Khron Studio - Spells Variations Vol 3
    18 %
    OFF
  • ‘Tiny Transitions’ deivers 275 short Whooshes and other Transition sounds. Instead of the huge, more cinematic transitional sounds that you are accustomed to hear from SoundBits, this sound pack focuses more on the smaller, not-so-intrusive production elements that come in very handy for any Sound Designer, All-In-One Film Editor or Web-, App- and Game-Developers.

    All these small motion-supporting elements that you need in your everyday work for game menus, apps, general motion designs, … or as parts of more complex moving stuff.

    You get 275 designed sounds + a selection of 290 cleaned and edited source sounds that were used to design the Tiny Transitions. These sounds are mostly different props that are scraping or sliding on different surfaces and also some vocalized whoosh attempts.

    All source sounds were recorded with Sonosax SX-R4+ and Sennheiser MKH8050+MKH30 M/S rig.

    All sounds come with embedded Soundminer Metadata.

    50 %
    OFF
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Enhance your game with the UI Menu RPG Sound Effects Pack, featuring 174 carefully designed sound effects. Created for high-quality user interface interactions, this pack includes sounds for select, deny, and access actions, perfect for RPGs and other genres. But these versatile effects go beyond just menus—they can be used to elevate action, skills, magic, combat, motion, and more. Whether you’re building intricate gameplay systems or immersive user interfaces, this extensive collection offers the dynamic, rich sounds you need to bring your project to life.

    Features:

    •  174 universal user interface sounds for any type of game
    • High-quality sounds for the most commonly used categories
    • Can be used not only for UI, but perfect for any genre
  • Elevate your game with this Transmission/Glitchy sound effects pack, designed to add a dynamic, futuristic edge to your project. Perfect for enhancing the user experience, these high-quality, glitch-inspired sounds are ideal for creating technical malfunctions, digital disturbances, or sci-fi-themed environments. Whether you’re working on a cyberpunk game, a tech-heavy adventure, or any project in need of glitchy, electronic audio, this pack will help you immerse your audience with compelling, atmospheric effects that bring your digital world to life.

    Features:

    •  Transmissions
    •  Glitches
  • Environments & Ambiences Fantasy Jungle Ambiences Play Track 18 sounds included, 60 mins total $17.99

    Enter the mystical heart of an ancient, otherworldly wilderness with Fantasy Jungle — a curated collection of 18 designed stereo ambience tracks, totaling 1 hour, 31 minutes, and 41 seconds of immersive fantasy jungle soundscapes.

    Each track is a richly textured sonic environment where strange birds call from the treetops, mysterious creatures chirp and chatter in the shadows, and the soothing sounds of flowing water, rustling leaves, and gentle winds form a vivid natural backdrop. This ambience set is ideal for adding depth and life to fantasy worlds, game environments, audio dramas, or creative writing sessions.

    Crafted with care and detail, all files are delivered in high-quality stereo WAV format, with embedded metadata for easy organization and integration into your workflow.

    Product Features:

    ·          18 stereo WAV files

    ·          Total runtime: 1:31:41

    ·          Fantasy wildlife & jungle ambience – strange birds, unknown creatures, wind, and water

    ·          Metadata embedded for seamless library management

    ·          Loopable-friendly for continuous playback

    ·          Perfect for RPGs, games, film, podcasting, and immersive storytelling

    Let Fantasy Jungle breathe life into your magical worlds — where every chirp, breeze, and ripple tells a story beyond the veil of the ordinary.

  • Household Sound Effects Extra Coins Play Track 179 sounds included, 24 mins total $9.99

    EXTRA COINS – is an auxiliary sound library containing 179 unique sound effect files of real metal coins. From spare change and coin sacks to individual coins being handled and dropped. Whether it’s metallic clanking and ringing or the old familiar sound of a hand full of coins you’re looking for; This Extra sound effects library will help supplement any of your coin money needs, for your next project. Extra Coins comes in at over 24 minutes and was recorded at 192kHz / 32bit using an ultrasonic microphone. All of our libraries comply with the Universal Category System naming convention standard, allowing for accurate and easy granular searches.

    50 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.


   

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