Alient Covernant sound Asbjoern Andersen


Ridley Scott’s ‘Alien: Covenant’ is the latest installment in the legendary, genre-defining sci-fi franchise.

And this exclusive A Sound Effect interview gets you the inside-story behind the sound for the much-awaited movie, as told by Oscar-nominated supervising sound editor/sound designer Oliver Tarney and sound designer Michael Fentum.

Here, they discuss their approach to sound design on Alien: Covenant, from building on original Alien sound concepts to creating new sounds for the Neomorph, the Covenant ship, the radio transmissions from the Prometheus, and more.


Interview by Jennifer Walden



Video Thumbnail

The Alien film franchise is easily the scariest sci-fi film franchise ever. It’s certainly responsible for my lack of interest in space exploration. Even if they are fictitious, just the possibility of encountering a facehugger makes me say ‘no thanks.’ But the Xenomorph, in all its stages, makes for compelling cinema.

Director Ridley Scott, who directed the original Alien space thriller and the Prometheus prequel, helms the latest Alien offering, Alien: Covenant. The story follows the crew of the colony ship Covenant, who land on an uninhabited planet ideal for supporting human life. The paradise planet soon becomes a living nightmare as the crew discovers the remains of the Prometheus expedition, and the deadly alien life-forms that brought about their ultimate demise.

Oscar-nominated supervising sound editor/sound designer Oliver Tarney and sound designer Michael Fentum discuss their approach to sound design on Alien: Covenant, from building on original Alien sound concepts to creating new sounds for the Neomorph, the Covenant ship, the radio transmissions from the Prometheus, and more.


Alien Covenant sound designers Oliver Tarney and Michael FentumOliver Tarney (left) and Michael Fentum

 

How did you get involved with Alien: Covenant?

Oliver Tarney (OT): I’d been the supervising sound editor/designer on the three Ridley Scott films prior to Alien: Covenant, and was thrilled to be invited back to work with Ridley on this one. I think the project was first discussed whilst we were finishing The Martian.
 

The Alien film franchise began in 1979, and was directed by Ridley Scott, who also directed Prometheus — the Alien film prior to Covenant. Are they any sounds that carried forward from the previous film to this one? How about from the first film of the franchise?

OT: Mark Stoeckinger and his team had done a fantastic sound job on Prometheus, but there was only really one event that translated to this film — their design of the orb that activates the Orrery.

I love the sounds in the original film, and we wanted to use something from it. The sound of the egg opening is used as an element in this film, along with the original facehugger scream. We didn’t use those great gun sounds from Aliens, but I did design our weapons to sound like an earlier evolution of those pulse rifles.
 

What was Ridley Scott’s direction for sound? Were there specific effects, or scenes, that he wanted to focus on first?

OT: Before filming started there had been a request for a range of materials to be played on-set. There were various klaxons and turbulence sounds that I had given to location sound mixer Ben Osmo to give the actors some context on-set. There’s always a concern that these temp FX will obscure the production dialogue, but in the end Ben did a great job getting the balance of feeding this material into the location without obscuring the dialogue.

Mother’s voice treatment was another element that needed to be designed early on so that it could be played whilst filming. Her performance evolved throughout post production, but the treatment was the same as the original.

The appearance and movement of the Xenomorph and Neomorph evolved significantly over the course of post production, as did our creature sound design

As the editorial department started putting scenes together during the shoot, we got more requests for creature effects. Most were replaced as we started to get visual references, but the sound of the spores is more or less the same as my original offering.

Sometimes it is liberating to work to a description rather than to picture, and it worked well for the spores, but the appearance and movement of the Xenomorph and Neomorph evolved significantly over the course of post production, as did our creature sound design.

Alien Covenant sound design

The film is set on a foreign planet. Can you tell me about the design of the environment?

OT: ‘No birds, no animals, nothing’ — as Daniels (played by Katherine Waterston) says in the film. That was the brief for the sound of the planet. We had to leave the ambience empty enough that the audience would initially register that there were no life forms other than the crew. We then added just enough icy winds, eerie tree creaks, and patter of rain on leaves to offer the plausibility that there could still be something tracking them as they venture further away from the Lander.
 


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

 

Latest releases:  
  • 'Organic Lifeform Textures' by Bluezone Corporation is an inspirational sound effect library offering a selection of 99 ( 24 bit / 96 kHz / stereo ) unusual and mysterious sounds : From huge organisms to tiny insects, unexpected groans to invertebrate creatures moving through mud, this SFX library will offer you ultra high quality malleable textures for all your projects. This downloadable sample pack is very usefull for pro editors, film makers, music producers and video game sound designers.

    All sounds were recorded using various sources and processed meticulously using high-end gear. These sound effects have been layered to give you ready-to-use elements. You can easily pitch, modulate, mangle and stretch these sounds to create thousands of variations. 'Organic Lifeform Textures' has been designed to enhance science fiction, mystery, suspense and fantasy video game and scoring projects. Note: The background ambience in the demo is not part of the product but is added free of charge.

    Add to cart
  • Space Cargo Play Track 138 sounds included $22

    Bluezone Corporation presents 'Cargo – Spaceship Sound Effects', a new sci-fi sample library covering a wide range of elements including cockpit and interior ambiences, interface and beep sounds, reactor rumbles, spaceship passby sounds and more. Created with a large selection of high quality recordings and then meticulously layered, this downloadable sample pack will enhance your creative potential with as many as 138 highly usable sounds.

    All sound files are named according to their content and sorted thematically. WAV files are provided as 24 Bit / 96 kHz and sorted in 11 folders. In order to give you ready-to-use sounds for your productions, all samples are royalty-free for all your commercial projects.

    Add to cart
  • Whooshes Cinematic Metal – Titan Play Track Up to 4600 sounds included From: $119 From: $95.20

    CINEMATIC METAL – TITAN pushes big screen sound design beyond its comfort zone. New and unheard HITS, BRAAMS, BOOMS, IMPACTS, STINGERS and much more await you in the comprehensive Construction Kit and devastating Designed edition. Get over 12GB worth of clean, dazzling sound effects – available as individual components as well as layered, processed and ready to use.

    The library is available in two versions & a special bundle:

    CINEMATIC METAL – TITAN CONSTRUCTION KIT

    CINEMATIC METAL – TITAN sounds massive from start to finish. This Construction Kit in particular starts off with an unusual amount of kick. While foley and other, more meticulous applications are certainly possible, the main purpose here is to bring out the big guns and stomp any hint of moderation into the ground.

    LOCK AND LOAD
    Supplement your designs with detailed, high-end metallic sounds. The Construction Kit allows you to build unique, multi-accent effects that not only impress in scale, but also in fidelity, rhythm and character. This library particularly shines in situations, where the visible picture doesn’t necessarily produce the envisioned sound, but warrants its own supernatural emphasis.


    Files: 700 • Sounds: 4200 • Size: 10.9 GB


    CINEMATIC METAL – TITAN DESIGNED:

    Optimized for trailers, action scenes, in-game cinematics and special effects, the Designed edition brings fresh and exciting sounds to the table.

    Discover the force of aggressive, low, soft, processed, clean and tonal HITS, BRAAMS, IMPACTS, SCREECHES, STINGERS and SLAMS.

    DARK AND POWERFUL
    Paint a sense of dread and awe – CINEMATIC METAL – TITAN Designed can evoke fear of the unknown but just as easily kick into rampage mode: Empowered, ready for battle and thirsty for revenge. Find your perfect blend of haunting thriller and jacked, gritty anti-hero.
    Files: 100 • Sounds: 400 • Size: 1.5 GB


    CINEMATIC METAL – TITAN BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 800 • Sounds: 4600 • Size: 12.4 GB
    Included sounds – keywords:

    Braam, impact, rattle, squeak, rumble, clang, crunch, bell, groan, squeak, creak, cymbal, stinger, rusty, gate, container, flam, click, chain, dragging, thwack, bolt, door, train, metallic, iron, sliding, pole, oil drum, scrap, nail, gutter, break, steel, rim, scaffold, crowbar, swell, brass, hook, grate
    20 %
    OFF
    Ends 1563487200
  • Environments New Zealand Ambiences Play Track 27 sounds included, 88 minutes mins total $30

    New Zealand Ambiences is a beautifully crafted ambience library exploring the incredible country and sounds of New Zealand (mainly focusing on the South Island). This library will take you on a sonic adventure exploring the many unique birds and creatures ranging from locations such as: Haast, Queenstown, Lake Paringa, Lake Wakatipu, Te Anau, the Clay Cliffs and Pukaki!

    Recorded at 24 bit/192 kHz you’ll have the flexibility to pitch these ambiences and bird songs to create some truly amazing other worldly atmospheres!

    Add to cart
  • City Life Jamaican Vibrations Vol. 2 Play Track 90 sounds included, 702 mins total From: $30

    Get the sounds and ambiences of Jamaica in this very special sound effects library, featuring almost 12 hours of authentic recordings.

    An Additional Library of Vol 1. the Jamaican Vibrations SFX library includes Walla sounds of Jamaican Patois chatting, urban and village ambiences, high mountain atmospheres, forest sounds, car rides, coffee farm working sounds, wooden house sounds, roomtones, beaches, as well as a luxury hotel visit. So if you're looking for the real sounds of Jamaica, here they are:


Sound Effects Sale

The Sound Effects Summer Sale is now live!

Land huge savings on 100s of excellent sound effects libraries right here

Need specific sound effects? Try a search below:
 

For the Xenomorph sounds, were the design rules/parameters based on the original Alien sounds? Can you share some examples of Xenomorph sounds you created for this film? What went into creating those sounds?

Michael Fentum (MF): When it came to the actual Xenomorph vocals we had a challenge as in the first film they had that very effective hiss, but were otherwise fairly stealthy — maybe just a squeal or scream in surprise or attack. We had notes such as ‘power and presence’ but the tough thing was the increase in screen time the creature had compared to the other films and making it still feel like a Xenomorph.

One characteristic we particularly liked from the original was this kind of hiss of seething rage before it attacked. We went about emulating that by using lots of liquid recordings that were heavily processed with the Eventide H8000 and then blended together to taste.

One characteristic we particularly liked from the original was this kind of hiss of seething rage before it attacked

The other element that (film editor) Pietro Scalia was very keen on getting across was a low-end presence, a sort of malevolent aura that was just there with the creature. We then had to set out trying to get this low-end into something that didn’t feel too synthetic. We made low frequency tones from all different natural sources, then set about finding ways to modulate them through the Kyma (by Symbolic Sound). This seemed to glue natural movement onto a previously static sound.

OT: Sounds such as the hiss of komodo dragons and the hoarse screech of vultures were a great starting point for the seething characteristic, but blending them with dry ice, deep metal stresses, and sword scrapes in the Kyma gave it a little more individual identity and lent the sound that slight metallic element that seems to work for the physicality of the Xeno.

Some of the sounds used in the original film to great effect for the monster were shrill creature squeals, and our Director isn’t averse to the asking for them. We made sure we had a good palette of Xeno sounds based on this type of squeal, and they do cut through incredibly well when there’s a lot going on in a busy action sequence.

Video Thumbnail
There are also some new versions of the aliens. What went into creating those sounds?

MF: For the Neomorph we began work before we had seen any picture of the creature. There was a video we were given by the picture department of a mantis shrimp that made a loud clicking sound with the note of ‘we like this’. So the idea was to somehow incorporate a click or clicking element into the Neo. We sent back some sounds and then waited to see how the creature looked and behaved.

On seeing the creature there was no real space for a click in its movement as it was so fast, and it was also gelatinous in its texture, so we tried the idea (as it had no eyes) of using clicks as an echolocation tool. We started then trying dolphins and beluga whales which worked for the first temp, but didn’t quite cut through enough.

OT: We started experimenting with blending various elements in the Kyma to see if we could move away from the more familiar dolphin sound, and add a little more agitation and aggression to the sound. One of the sounds that helped when added was a wood fracturing sound that provided a nice resonance. This element really came to life once Mark Taylor started moving it around the room in the FX premix, with delays pinging off the surrounds. It really helped sell the idea of the creature scanning its environment.

He bought several frozen racks of ribs which our Foley Artist, Andrea King, manipulated with a deft touch and a strong stomach

There’s a scene when David (played by Michael Fassbender) meets the adult Neomorph that gave us an opportunity to develop a little more character. We had the echolocation element, but really wanted to describe its physicality. In contrast to the incredibly resilient Xeno, the Neo has an almost sickly quality. We spoke to our Foley Supervisor, Hugo Adams, about coming up with an element to describe its torso. He bought several frozen racks of ribs which our Foley Artist, Andrea King, manipulated with a deft touch and a strong stomach. As the racks thawed it got pretty messy, and in the end it was the early takes with the frozen quality that worked the best. Its breaths were created in the Kyma by crossing a bear breathing heavily with a recording of air bubbling through mud, as though it had fluid in its respiratory tract. It helped sell the idea of the Neo being the sickly relative to the Xeno.

MF: For the main attack vocal we were given the note that they wanted it to sound like a ‘crazed baboon.’ We then set about making a large set of agitated creature sounds that we could then manipulate to create the personality Ridley had requested. We used a combination of various creature recordings in the end, including a great recording of an agitated fox I had made, baboons and baby elephants.

Alien Covenant sound design

Can you share some details about the new ship sounds you created? What did you need to create a sound for? What went into creating that sound?

OT: When we were working on The Martian we had wanted to evoke a little of the Nostromo, and had given the hardware some of that raw buzzing, clicking, whirring mechanical quality. We took that further for this film, and created a huge library of EM recordings.

One of the main elements used for the sound of the Covenant itself was made from a recording of a railway maintenance machine that woke me up one summer night as it was working outside my house

The Covenant is not as slick as the craft in Prometheus, but the aim was to be not quite as utilitarian as the Nostromo. That early sequence on the Nostromo as it wakes up in the original film was a great reference for the type of character we wanted to build for this ship.

MF: One of the main elements used for the sound of the Covenant itself was made from a recording of a railway maintenance machine that woke me up one summer night as it was working outside my house (I live by a railway line). It was very loud, with an especially eerie tone that once processed, had a fascinating texture. We used this to precede the rockets as the Covenant passes by.
 

Video Thumbnail

 

There’s a lot of creative work with radio transmission sounds in the film. How were these done?

OT: The most important radio treatment we created was for Shaw’s distress signal that the Covenant picks up. We had originally treated this to be short shards of audio, to be read as fragments of data packets being decoded by Mother.

MF: We started with the sync track of Noomi [Rapace — actress who plays Elizabeth Shaw in Prometheus] singing and set about mangling it up as much as we could in various ways whilst still being able to get from there to the clearer version that Mother decodes.

The result sounded edgy, and I liked it aesthetically, but we felt it was better for the narrative to hear a tuning sound as if Mother was honing in on the message

We played with various outboard FX like Mutable Instruments Clouds, the Intelijel Rainmaker and the Thermionic Rooster, recording take after take through these and others so we had a large palette that we could cut together, starting fully mangled and gradually becoming clearer.

OT: The result sounded edgy, and I liked it aesthetically, but we felt it was better for the narrative to hear a tuning sound as if Mother was honing in on the message. I played multiple takes through a small valve AM transmitter and recorded the results over the radio. It had great natural breakup and long, sweeping tuning whistles. I worked through the various takes to get a blend that would slowly reveal the content, so the viewer isn’t too far ahead or behind Tennessee(played by Danny McBride) as he works out what he’s listening too. We used the same real radio setup for the final transmission in the film, with that natural breakup as the voice disappears into the distance.
 

Favorite scene or single sound to design? Why? How did you design it?

OT: The sound design in the original Alien film is just perfect, and has been a reference for this type of sci-fi film ever since. Being such fans of the original film, it was as big a thrill for Michael and I to reference those uneasy, atmospheric chain clinking, water dripping environments in our work as it was to be involved in the creature design. Of the elements that are new to the series, we liked how the Neomorph character develops through the film up to the meeting David scene.

A big thanks to Oliver Tarney and Michael Fentum for the story behind the sound for Alien: Covenant + to Jennifer Walden for conducting the interview, and to Peter Albrechtsen for some additional questions!

 

Please share this:


 


 
 
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:
 
 
  • Animals & Creatures Animal Hyperrealism Vol II Play Track Over 2000 sounds included
    Rated 5.00 out of 5
    $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.
    Add to cart
  • Quadcopters / Drones Quadcopter Flight Play Track 148 sounds included, 61 mins total
    Rated 5.00 out of 5
    $60

    ‘Quadcopter Flight’ shows off these buzzing beasts from near and far in both quiet exterior locations and the studio.

    Featuring a large quadcopter and two minis, these machines were captured as they performed all possible actions, such as take-offs, flybys, revs, and sustained flight.

    The library also has foley, a few crashes, and recordings from contact mics that were attached to the two smaller quads for sounds of high-tech servo/rotor sounds that can be used for sci-fi projects containing robots, sliding doors, and more.

    Quadcopters recorded:

    • Dromida Kodo II – Interior
    • Eachine H8S – Interior
    • Yuneec Typhoon G – Exterior
    • Yuneec Typhoon G – Interior

    Add to cart
  • Materials & Texture Drag & Slide Play Track 550+ sounds included $38 $19

    Need the sound of objects being pushed, pulled, dragged, moved – or perhaps sliding and scraping over different surfaces? The Drag & Slide SFX library gets you exactly that: More than 500 dragging and sliding sounds that are ready to be used as they are – or for intense sound design.

    Drag & Slide features recordings from sources such as:

    Bags, Barrels, Blades, Bottles, Cabinets, Chairs, Coat-hangers, Crates, Dining Tables, Fridges, Frying Pans, Iron Boxes, Iron Tables, Metal Cans, Metal Chairs, Nightstands, Pallets, Paper bags, Plates, Racks, Rakes, Shoes, Shovels, Sledgehammers, Spray cans, Stones/rocks, Toolboxes, Vacuum Cleaners, Various heavy objects, Wooden Boards – and more!

    Technical details:

    All sounds were cleaned, edited and filled with BWF-Metadata for instant use in your projects – and many of the files in the pack contain more than one sound. Recorded with Sound Devices 744T, 788T, Sennheiser MKH8050, Ambient ATE208, Sony PCM-D100

    50 %
    OFF
    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • 'Organic Lifeform Textures' by Bluezone Corporation is an inspirational sound effect library offering a selection of 99 ( 24 bit / 96 kHz / stereo ) unusual and mysterious sounds : From huge organisms to tiny insects, unexpected groans to invertebrate creatures moving through mud, this SFX library will offer you ultra high quality malleable textures for all your projects. This downloadable sample pack is very usefull for pro editors, film makers, music producers and video game sound designers.

    All sounds were recorded using various sources and processed meticulously using high-end gear. These sound effects have been layered to give you ready-to-use elements. You can easily pitch, modulate, mangle and stretch these sounds to create thousands of variations. 'Organic Lifeform Textures' has been designed to enhance science fiction, mystery, suspense and fantasy video game and scoring projects. Note: The background ambience in the demo is not part of the product but is added free of charge.

  • Space Cargo Play Track 138 sounds included $22

    Bluezone Corporation presents 'Cargo – Spaceship Sound Effects', a new sci-fi sample library covering a wide range of elements including cockpit and interior ambiences, interface and beep sounds, reactor rumbles, spaceship passby sounds and more. Created with a large selection of high quality recordings and then meticulously layered, this downloadable sample pack will enhance your creative potential with as many as 138 highly usable sounds.

    All sound files are named according to their content and sorted thematically. WAV files are provided as 24 Bit / 96 kHz and sorted in 11 folders. In order to give you ready-to-use sounds for your productions, all samples are royalty-free for all your commercial projects.

  • Whooshes Cinematic Metal – Titan Play Track Up to 4600 sounds included From: $119 From: $95.20

    CINEMATIC METAL – TITAN pushes big screen sound design beyond its comfort zone. New and unheard HITS, BRAAMS, BOOMS, IMPACTS, STINGERS and much more await you in the comprehensive Construction Kit and devastating Designed edition. Get over 12GB worth of clean, dazzling sound effects – available as individual components as well as layered, processed and ready to use.

    The library is available in two versions & a special bundle:

    CINEMATIC METAL – TITAN CONSTRUCTION KIT

    CINEMATIC METAL – TITAN sounds massive from start to finish. This Construction Kit in particular starts off with an unusual amount of kick. While foley and other, more meticulous applications are certainly possible, the main purpose here is to bring out the big guns and stomp any hint of moderation into the ground.

    LOCK AND LOAD
    Supplement your designs with detailed, high-end metallic sounds. The Construction Kit allows you to build unique, multi-accent effects that not only impress in scale, but also in fidelity, rhythm and character. This library particularly shines in situations, where the visible picture doesn’t necessarily produce the envisioned sound, but warrants its own supernatural emphasis.


    Files: 700 • Sounds: 4200 • Size: 10.9 GB


    CINEMATIC METAL – TITAN DESIGNED:

    Optimized for trailers, action scenes, in-game cinematics and special effects, the Designed edition brings fresh and exciting sounds to the table.

    Discover the force of aggressive, low, soft, processed, clean and tonal HITS, BRAAMS, IMPACTS, SCREECHES, STINGERS and SLAMS.

    DARK AND POWERFUL
    Paint a sense of dread and awe – CINEMATIC METAL – TITAN Designed can evoke fear of the unknown but just as easily kick into rampage mode: Empowered, ready for battle and thirsty for revenge. Find your perfect blend of haunting thriller and jacked, gritty anti-hero.
    Files: 100 • Sounds: 400 • Size: 1.5 GB


    CINEMATIC METAL – TITAN BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 800 • Sounds: 4600 • Size: 12.4 GB
    Included sounds – keywords:

    Braam, impact, rattle, squeak, rumble, clang, crunch, bell, groan, squeak, creak, cymbal, stinger, rusty, gate, container, flam, click, chain, dragging, thwack, bolt, door, train, metallic, iron, sliding, pole, oil drum, scrap, nail, gutter, break, steel, rim, scaffold, crowbar, swell, brass, hook, grate
    20 %
    OFF
    Ends 1563487200
  • Environments New Zealand Ambiences Play Track 27 sounds included, 88 minutes mins total $30

    New Zealand Ambiences is a beautifully crafted ambience library exploring the incredible country and sounds of New Zealand (mainly focusing on the South Island). This library will take you on a sonic adventure exploring the many unique birds and creatures ranging from locations such as: Haast, Queenstown, Lake Paringa, Lake Wakatipu, Te Anau, the Clay Cliffs and Pukaki!

    Recorded at 24 bit/192 kHz you’ll have the flexibility to pitch these ambiences and bird songs to create some truly amazing other worldly atmospheres!

  • City Life Jamaican Vibrations Vol. 2 Play Track 90 sounds included, 702 mins total From: $30

    Get the sounds and ambiences of Jamaica in this very special sound effects library, featuring almost 12 hours of authentic recordings.

    An Additional Library of Vol 1. the Jamaican Vibrations SFX library includes Walla sounds of Jamaican Patois chatting, urban and village ambiences, high mountain atmospheres, forest sounds, car rides, coffee farm working sounds, wooden house sounds, roomtones, beaches, as well as a luxury hotel visit. So if you're looking for the real sounds of Jamaica, here they are:

 
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

One thought on “Behind the horrifying sound of ‘Alien: Covenant’

  1. This is awesome a lot great details to pick up on. I really enjoyed the soundtrack for this film.

Leave a Reply

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

HTML tags are not allowed.