PiratesInBatavia_sound-17 Asbjoern Andersen


Here's an A Sound Effect blog first: talking about sound design for an amusement park ride! Sound Designers Ana Monte and Daniel Deboy of DELTA Soundworks discuss their approach to 'Pirates in Batavia' ride for Germany's Europa-Park.
Interview by Jennifer Walden, photos courtesy of Europa-Park, and Ana Monte
Please share:

We often talk about how sound enriches films, TV series, and games, but it also adds to the experience of amusement park rides. Can you imagine Disney’s Magic Kingdom “It’s a Small World” ride without that catchy track? Or their “Pirates of the Caribbean” ride without the storm sounds and cannon shot effects?

Europa-Park in Germany has its own famous pirate ride called “Pirates in Batavia.” And like its American counterpart, this water ride features a soundtrack that immerses passengers into the world of pirates. Here, DELTA Soundworks co-founders Ana Monte and Daniel Deboy share some behind-the-scenes details on the challenges and creative opportunities that came from working on this amusement park ride!



The Pirates in Batavia are back!


The Pirates in Batavia are back!

You’ve designed sound for an amusement park ride? Awesome! Can you tell me a bit about the ride?

Ana Monte and Daniel Deboy (AM and DD): Europa-Park is Germany’s biggest amusement park and the second most popular theme park resort in Europe (after Disneyland Paris). They have been around since 1975. One fan-favorite and the park’s oldest ride, which opened in 1987, was the 8-minute dark ride “Pirates in Batavia.” You can, however, imagine the sadness and shock when, in 2018, fans found out the ride was burnt to the ground due to a horrible fire. Thankfully, no one got hurt!

The family-owned park vowed to rebuild the beloved ride and so they did.

Some key facts about the ride:

Area: 14.319 m2
Water volume: 2,000 m3 (1.8 million litres)
Animatronics: over 100, with 8 saved from the previous attraction
Duration of the attraction: approximately 8 minutes
Capacity: 1,800 people / hour
Construction time: 24 months
Decoration: Over 8 tons of authentic decoration from Indonesia
Manufacturer: Mack Rides GmbH & Co. KG

 ‘Pirates in Batavia’ amusement park ride sound floor plan

An overview of the ride’s floor plan – Image courtesy of Europa-Park / Mack Rides

 

PiratesOfBatavia_sound-4

DELTA Soundworks co-founders Ana Monte and Daniel Deboy on-site at Europa-Park

Who was your point-person for this project?

AM and DD: We’ve been involved with the park’s media production company, MackMedia, for a while, having produced the sound for a couple of their movies.

Our first collaboration was doing the complete sound production for their short film Pandora which promoted their yearly Halloween event “Horror Nights – Traumatica.”

So instead of creating a traditional ad, they created two short films.

Later, we were hired to do the sound for two teasers that promoted the return of the pirates to the park. The park wanted to let fans know that the ride was being rebuilt, but decided to expand the storyline around the life of the pirates. So instead of creating a traditional ad, they created two short films.

The shorts feature an animated otter which is the main pirate’s sidekick. Jopie, the otter, was quite the challenge to create the sound for since he had to be realistic and not too cartoony, but at the same time should sound cute and not annoying.

On the first teaser, he only shows up at the end and does about three seconds worth of sound. So for that first teaser, Ana recorded her cat who does an adorable squeak sound when she is hungry.


https://www.youtube.com/watch?v=qExv-FetpXg&feature=youtu.be
Footage from the ‘Pirates in Batavia’ ride, captured by park guests

Jopie, the otter, was quite the challenge to create the sound for…

For the second teaser, we were wondering how to solve the Otter problem since Jopie makes more sounds. Foley artist to the rescue! We told our Foley artist that we were having a hard time with the Otter sound and when he sent us the Foley session, he just said, “By the way, I had a random idea for the Otter sound. It might work; it might not. Just see.” So with a lot of editing and a talented Foley artist-turned-animal-voiceover-actor, the Otter’s voice was created.

Why do we talk so much about the Otter and what does this have to do with the amusement park ride? Well, the animated Otter was our golden ticket to getting the project!

 

PiratesOfBatavia_sound-3

What was the direction for the sound on the ride? What were you asked to create?

AM and DD: Fast forward a couple of months after the final sound mix for the second teaser. We got a call from the project manager overseeing the reconstruction of “Pirates in Batavia,” saying, “Hi! I heard that you guys did the sound for Jopie. We’ll have a couple of animatronic Jopies on the ride and we were wondering if you could create some sounds for them?”

For the ride, Jopie was again quite the challenge because he would stand next to the hero pirate…and would have several conversations.

We were initially asked to create the sound for Jopie’s animatronics and some other animals like the villain’s pet monkeys. For the ride, Jopie was again quite the challenge because he would stand next to the hero pirate, Robbemond, and would have several conversations. Once again, we contacted our Foley artist who had done a great job on Jopie’s voice for the teaser and we were able to create a recording session where Jopie expressed a series of emotions. These sounds were edited to fit the lines spoken by Robbemond and Jopie.

 


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


Trending right now:

  • Uncategorized Overkill – Gore And Splatter Play Track 3390 sounds included, 160 mins total $112.49

    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.
    25 %
    OFF
  • Step into a world of spells, mysticism, and creative power with Spells Variations Vol. 2, the follow-up to our acclaimed magical sound collection. This time, we’ve expanded the elemental and thematic range, offering 405 professionally crafted sound effects that are fully categorized and ready to use.
    Inside, you’ll find a wide variety of magical types:
    🔥 Fire
    💧 Water
    🌪️ Air
    🌍 Earth
    Electricity
    ❄️ Ice
    ☠️ Poison, Mud, Rocks
    ✨ As well as Arcane, Dark, Monstrous, and other mystical spell types.

    Each category is organized into individual folders, with multiple variations for every spell, giving you complete flexibility to choose the perfect sound for each moment, All this makes a total of 44 different spells.
    Just like in Volume 1, every sound in this collection was recorded, edited, and mastered at 192 kHz / 24-bit, ensuring top-tier quality and adaptability—perfect for professional sound designers or anyone looking for drag-and-drop magical effects for games, trailers, animations, or any audio-visual 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
    – 405 spell sounds
    – Format: 192KHz / 24 bits
    – Win/Mac: Yes
    – Minutes of audio provided: 22:26

  • Rolling Objects, the next step of our Materials & Textures SFX series, is a diverse collection of 270 HQ sounds which covers a wide range of objects rolling on various surfaces.

    The possibilities you have with this library are genuinely endless. You can cover anything from vehicle sound design to landslides and giant boulders to more innovative concepts like drone textures and sci-fi mechanical movements.

    Some of the most exciting elements included are large metallic pipes rolling on concrete, tree logs and gravel sloping downwards, a Chinese meditation ball slipping from an aluminum rail, a metal barrel moving on various surfaces, various kid toys rolling on wooden surfaces.

  • We freely confess: we love the idea of the magical sound of glitter. We love it when it sparkles, shines and shimmers. But no other sound libraries seem to get it right.

    So we made Glitter to offer a huge range of designed and source sparkling magic sound effects to your arsenal. Whether you need to complement particles effects, magical spells or any other fabulous wizardry, you can count on this minty fresh library to deliver dazzling audio, over and over again.

     

    The Glitter sound library is built in two distinct sections: Source and Designed. The Designed section offers rich and inspiring sounds ready to be dropped in your project. The source folder includes various recordings used to create this library, should you want to wander down the path of creating your own glittering adventures.

    Created with crackling passion by our fairy own sound designers, this masterful curated library will be sure to bring your project to a sparkling new level of awe-inspiring wonderment.

    34 %
    OFF

Latest releases:

  • Foley Sound Effects Zastava Rival 1987 truck Play Track 159 sounds included, 49 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1and 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.

  • Environments & Ambiences Rivers Soundscapes Play Track 10 sounds included, 32 mins total $12.99

    Transform your environments with the serene power of nature! This collection of 10 realistic river soundscapes captures the soothing flow and rhythmic ambiance of rivers in stunning detail. Perfect for creators looking to add depth, authenticity, and a calming touch to their projects.

    Whether you’re enhancing a video game, film, meditation app, or virtual experience, these soundscapes bring your environments to life, immersing your audience in the tranquil energy of natural water streams.

    Features:

    • 10 High-Quality Recordings: Each soundscape delivers authentic river sounds, from gentle babbling brooks to flowing currents.
    • Versatile Use: Ideal for background ambiance, immersive environments, and relaxation-focused projects.
    • Realistic Feel: Carefully crafted to add a lifelike essence to any creative endeavor.

    Bring nature closer to your audience with these expertly recorded river soundscapes—perfect for creating immersive and memorable experiences.

  • Transform your project with our designed futuristic drone soundscapes, crafted to elevate the user experience and infuse your work with a futuristic atmosphere. Perfect for games, films, or interactive media, these high-quality sounds add depth and innovation, bringing a modern, otherworldly vibe to your creative vision. Enhance the mood, captivate your audience, and immerse them in the future with these expertly designed drone soundscapes.

    12 soundscapes that you can import directly into your project.

  • Sounds of Nature: Island Ambiences – Azores, North Atlantic library, is an inspiring collection of high-quality natural soundscapes from one of the most pristine and biodiverse regions of the North Atlantic. It features the unmistakable calls of Cory’s Shearwaters, especially their iconic cackling during the breeding season.

    Immerse yourself in the unspoiled beauty of the Azores with recordings that capture the essence of its diverse habitats: tranquil mountain peaks, serene lakes, rugged coastal cliffs, and lush coastal forests. Each environment is alive with a symphony of sounds, featuring a rich variety of bird species and the harmonious croaks of Iberian Water Frogs (Perez’s Frog).

    This library is a celebration of the natural world, bringing the raw, untouched beauty of the Azores to life through sound. Rather than crashing ocean waves, you’ll mostly hear the natural sounds of the inland areas. Perfect for nature lovers, sound designers, game developers and anyone seeking authentic, atmospheric audio from the heart of the unspoiled North Atlantic.

    All recordings are clear and entirely devoid of external noise and human disruptions. Therefore, this library is particularly valuable for productions set in the past, such as medieval and ancient times as well as for historical and nature documentaries.

    All these nature ambiences are recorded using multiple microphone setups: a Double MS Stereo setup and a spaced omni mic setup, the latter also providing extended frequency response. This results in four variations for each recording: Stereo, Wide Stereo, Wide AB Stereo, and 5-channel 5.0 surround. The variances between these options range from subtle to more pronounced, offering flexibility for crosscutting within scenes.

    Get almost 15 hours of unique, royalty-free and notably high-quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered to sound as natural as possible. With an average duration ranging from 4 to 18 minutes per file, there’s ample time to integrate them seamlessly into longer scenes without the need for looping. For more detailed descriptions of the ambiences within this collection, please refer to the metadata provided in our file list or listen to the preview montage.

    This library is UCS compliant (universalcategorysystem.com). In this new category system, all files contain extensive metadata like file description, Category & Subcategory. Metadata can be read and processed by the most common audio libraries management tools.

    20 %
    OFF
    Ends 1748037599
  • Bundles MASTERGUN – M240B Play Track 1834 sounds included $90

    The Master Gun M240B Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.

    Raw Recordings

    Our raw shots features a total of 28 channels including 13 Stereo and 2 mono sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
    Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.

    Our foley features a total of 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.

    Suppressed Recordings

    In addition to the unsuppressed shot recordings, we’ve also sampled the M240B with a suppressor attachment. The suppressed M240B was sampled right after the unsuppressed recordings using the exact same microphone setup as the unsuppressed version. This provides you a seamless transition between the unsuppressed and the suppressed recordings.
    The suppressed recordings also have the added benefit of muting the shot layers which helps bring out the intricate details of the mechanism (mech layers).
    Because adding a suppressor to the firearm increases the weapons muzzle velocity, the fire rate of the suppressed weapon is slightly faster than its unsuppressed counterpart.

    Designed Mixes

    Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.

    UCS compatible metadata embedded

    All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.

Need specific sound effects? Try a search below:


PiratesInBatavia_sound-13

Photo courtesy of Europa-Park

What were your goals for sound? How did you want to use sound to make this ride an even better experience?

AM and DD: Our objective for the project was to take “Pirates in Batavia” to the next level of immersion. The ride is set during a pirate raid on Jakarta (known as Batavia until 1942) in the 17th century at the beginning of the Dutch colonization of Indonesia.

The team initially contacted us for some basic sound design. We made a counter-offer for the creation of a whole immersive environment with complex ambient sounds that would place the park guests inside the story. We explained how sound could elevate the ride and we came up with a sound concept for several scenes that take place within the 8-minute ride.

…we did some research on Indonesian languages such as Bahasa Indonesia and Javanese to make sure the wallas we were using had a correct “rhythm” to the language pattern.

We did a lot of research to have a feel for the ambience and how it might have sounded back then. We also did a lot of research on the fauna of Indonesia to make sure the animals sounded accurate. Last but not least, we did some research on Indonesian languages such as Bahasa Indonesia and Javanese to make sure the wallas we were using had a correct “rhythm” to the language pattern.

One of the scenes is an Indonesian stilt village with a lot of background activity. Even though all the sounds coming from the village are muffled, the Indonesian language has a different rhythm compared to English-speaking background sounds that you can find in libraries. So it was important to us that those background conversations felt right.

Since the ride caught on fire, we weren’t able to visit the original ride for inspiration.

Another great resource was YouTube. Since the ride caught on fire, we weren’t able to visit the original ride for inspiration. We weren’t able to hear how the sound could be improved. But thanks to YouTube and the fans of the park, there are a lot of on-ride videos of the old ride and this was a great help.

For the technical implementation, we received architectural plans and were able to see how many loudspeakers each room had and where they were hiding, which ones were used for the animatronics and which ones could be used for the ambient sounds. The sound system is highly complex with over 300 loudspeakers.

 

[tweet_box]The Exciting Sound Design for Amusement Park Ride “Pirates in Batavia”[/tweet_box]

PiratesInBatavia_sound-10

Photo courtesy of Europa-Park

Did you have to create numerous assets? Or one long sound file that plays for the duration of the ride?

AM and DD: Yes, I guess you can call them assets. Most of them were created as loops containing one element of the scenery — for example, birds in a jungle or pirates fighting in a battle. Some of them were triggered sounds such as a gate opening or a cannon shooting. For the animatronics, we basically delivered source material to the programmers of the animatronics’ movements and they’d sync it up.

 

PiratesInBatavia_sound-6

Photo courtesy of Europa-Park

What were your delivery specs? Were they stereo tracks? Did you have to master the assets to a certain level?

AM and DD: Most sounds were delivered as mono files and integrated in the control system of the ride, where a DSP takes over the playback and routing to the dedicated loudspeaker. Sounds could also be mixed to several destinations.

The files were mastered to a common level as a starting point, but we were able to adjust it in the DSP and add EQs at this stage to address the playback properties of the loudspeaker in its position. Kraftwerk LT — the Austrian company responsible for the audio-visual solution of the ride — did a great job calibrating the speaker system. Still, this is obviously far from an ideal listening environment that you’d have in a studio or home setup.

 

PiratesInBatavia_sound-9

Photo courtesy of Europa-Park

How did you create this sonic experience? What was your DAW? Did you custom record sounds? Any useful sound libraries?

AM and DD: We created this sonic experience with a combination of tools. We designed the sound using Pro Tools. For the mastering, we used Reaper since it’s a great tool for exporting multiple assets at once. We also used the game engine Unity. Since we do a lot of immersive audio design for virtual reality, we used our tools to test out sounds in real-time to get a feeling for the environment.

As for sound libraries, yes! A big shout out to BOOM library for supporting us with their two libraries: Medieval Life and Historical Firearms. We also used Pirate Game Sounds from Audio Alchemist.

 

PiratesOfBatavia_sound-2

Photo courtesy of Europa-Park

What were some challenges you faced in creating the sound for an amusement park ride?

AM and DD: The sound creation was quite a unique approach if you come from film, but if you come from gaming (and in our case VR), we are used to the acoustics changing as you walk through a certain environment. This ride wasn’t that different.

So you can’t just send your client a stereo file of all the things happening in the scene since it will just create a cacophony.

You sit on a boat that floats through different scenes. The beginning of the scene will sound different from the end of the scene. If I’m in a jungle and I have a monkey shout next to me in the beginning, I won’t hear it that much at the end. So you can’t just send your client a stereo file of all the things happening in the scene since it will just create a cacophony.

Also, keep in mind this production happened this summer during the COVID pandemic and while the ride was still under construction, so we couldn’t just go and check out the sounds anytime we wanted. Plus, many of the loudspeakers weren’t even installed.

 

PiratesInBatavia_sound-15

Photo courtesy of Europa-Park

How much did environmental noise factor into your design plans?

AM and DD: There were definitely some challenges regarding environmental noise. For example, when we “mixed” the final sound, there was no crowd. Also, some features of the ride weren’t fully functioning yet such as a waterfall in the jungle scene, which obviously created a lot of sound once it was turned on. The water flow creates a constant background noise that we underestimated. When the water stream to move the boats was turned on, it masked quieter sounds and therefore limited the dynamic range.

These and more issues had to be kept in mind when we did the final mixing, but we could only truly hear the final mix on the grand opening day.

 

PiratesInBatavia_sound-7

Photo courtesy of Europa-Park

Once the ride was operational, were you able to test and rework your design to better fit the playback environment? Or to tailor your soundtrack to the ride even better?

AM and DD: A lot of changes happened on location. We were given time to mix the sound one week before the grand opening. So for two days we rode the ride over and over and over again and made adjustments as we went. We had a colleague wearing fisherman pants and pushing us around on a boat from scene to scene. If a certain scene had disturbing sound elements, we would jump out of the ride, re-export things out of Reaper, load it onto the system server and re-start the tweaking.

 

PiratesInBatavia_sound-14

Photo courtesy of Europa-Park

What are you most proud of in terms of your sound design for this ride?

AM and DD: We are honestly most proud of being able to convince the park that sound design would be an important upgrade to the old ride. Parks know the importance of music and invest a lot in the score, which is great! But sound design also plays an important role in the ride experience, making it even more immersive.

 

A big thanks to Ana Monte and Daniel Deboy for giving us a behind-the-scenes look at the sound of “Pirate of Batavia” and to Jennifer Walden for the interview!

 

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:

  • Rolling Objects, the next step of our Materials & Textures SFX series, is a diverse collection of 270 HQ sounds which covers a wide range of objects rolling on various surfaces.

    The possibilities you have with this library are genuinely endless. You can cover anything from vehicle sound design to landslides and giant boulders to more innovative concepts like drone textures and sci-fi mechanical movements.

    Some of the most exciting elements included are large metallic pipes rolling on concrete, tree logs and gravel sloping downwards, a Chinese meditation ball slipping from an aluminum rail, a metal barrel moving on various surfaces, various kid toys rolling on wooden surfaces.

  • Step into a world of spells, mysticism, and creative power with Spells Variations Vol. 2, the follow-up to our acclaimed magical sound collection. This time, we’ve expanded the elemental and thematic range, offering 405 professionally crafted sound effects that are fully categorized and ready to use.
    Inside, you’ll find a wide variety of magical types:
    🔥 Fire
    💧 Water
    🌪️ Air
    🌍 Earth
    Electricity
    ❄️ Ice
    ☠️ Poison, Mud, Rocks
    ✨ As well as Arcane, Dark, Monstrous, and other mystical spell types.

    Each category is organized into individual folders, with multiple variations for every spell, giving you complete flexibility to choose the perfect sound for each moment, All this makes a total of 44 different spells.
    Just like in Volume 1, every sound in this collection was recorded, edited, and mastered at 192 kHz / 24-bit, ensuring top-tier quality and adaptability—perfect for professional sound designers or anyone looking for drag-and-drop magical effects for games, trailers, animations, or any audio-visual 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
    – 405 spell sounds
    – Format: 192KHz / 24 bits
    – Win/Mac: Yes
    – Minutes of audio provided: 22:26

  • Industrial Ambiences Research Ship Ambiences Play Track 27 sounds included, 62 mins total $40

    Recorded in the Southern Ocean on an Antarctic Research Vessel. These unique ambiences were captured across different locations while the ship was underway, from machine and engine rooms and science areas to waves lapping and living quarters.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Foley Sound Effects Zastava Rival 1987 truck Play Track 159 sounds included, 49 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1and 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.

  • Environments & Ambiences Rivers Soundscapes Play Track 10 sounds included, 32 mins total $12.99

    Transform your environments with the serene power of nature! This collection of 10 realistic river soundscapes captures the soothing flow and rhythmic ambiance of rivers in stunning detail. Perfect for creators looking to add depth, authenticity, and a calming touch to their projects.

    Whether you’re enhancing a video game, film, meditation app, or virtual experience, these soundscapes bring your environments to life, immersing your audience in the tranquil energy of natural water streams.

    Features:

    • 10 High-Quality Recordings: Each soundscape delivers authentic river sounds, from gentle babbling brooks to flowing currents.
    • Versatile Use: Ideal for background ambiance, immersive environments, and relaxation-focused projects.
    • Realistic Feel: Carefully crafted to add a lifelike essence to any creative endeavor.

    Bring nature closer to your audience with these expertly recorded river soundscapes—perfect for creating immersive and memorable experiences.

  • Transform your project with our designed futuristic drone soundscapes, crafted to elevate the user experience and infuse your work with a futuristic atmosphere. Perfect for games, films, or interactive media, these high-quality sounds add depth and innovation, bringing a modern, otherworldly vibe to your creative vision. Enhance the mood, captivate your audience, and immerse them in the future with these expertly designed drone soundscapes.

    12 soundscapes that you can import directly into your project.

  • Sounds of Nature: Island Ambiences – Azores, North Atlantic library, is an inspiring collection of high-quality natural soundscapes from one of the most pristine and biodiverse regions of the North Atlantic. It features the unmistakable calls of Cory’s Shearwaters, especially their iconic cackling during the breeding season.

    Immerse yourself in the unspoiled beauty of the Azores with recordings that capture the essence of its diverse habitats: tranquil mountain peaks, serene lakes, rugged coastal cliffs, and lush coastal forests. Each environment is alive with a symphony of sounds, featuring a rich variety of bird species and the harmonious croaks of Iberian Water Frogs (Perez’s Frog).

    This library is a celebration of the natural world, bringing the raw, untouched beauty of the Azores to life through sound. Rather than crashing ocean waves, you’ll mostly hear the natural sounds of the inland areas. Perfect for nature lovers, sound designers, game developers and anyone seeking authentic, atmospheric audio from the heart of the unspoiled North Atlantic.

    All recordings are clear and entirely devoid of external noise and human disruptions. Therefore, this library is particularly valuable for productions set in the past, such as medieval and ancient times as well as for historical and nature documentaries.

    All these nature ambiences are recorded using multiple microphone setups: a Double MS Stereo setup and a spaced omni mic setup, the latter also providing extended frequency response. This results in four variations for each recording: Stereo, Wide Stereo, Wide AB Stereo, and 5-channel 5.0 surround. The variances between these options range from subtle to more pronounced, offering flexibility for crosscutting within scenes.

    Get almost 15 hours of unique, royalty-free and notably high-quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered to sound as natural as possible. With an average duration ranging from 4 to 18 minutes per file, there’s ample time to integrate them seamlessly into longer scenes without the need for looping. For more detailed descriptions of the ambiences within this collection, please refer to the metadata provided in our file list or listen to the preview montage.

    This library is UCS compliant (universalcategorysystem.com). In this new category system, all files contain extensive metadata like file description, Category & Subcategory. Metadata can be read and processed by the most common audio libraries management tools.

    20 %
    OFF
    Ends 1748037599
  • Bundles MASTERGUN – M240B Play Track 1834 sounds included $90

    The Master Gun M240B Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.

    Raw Recordings

    Our raw shots features a total of 28 channels including 13 Stereo and 2 mono sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
    Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.

    Our foley features a total of 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.

    Suppressed Recordings

    In addition to the unsuppressed shot recordings, we’ve also sampled the M240B with a suppressor attachment. The suppressed M240B was sampled right after the unsuppressed recordings using the exact same microphone setup as the unsuppressed version. This provides you a seamless transition between the unsuppressed and the suppressed recordings.
    The suppressed recordings also have the added benefit of muting the shot layers which helps bring out the intricate details of the mechanism (mech layers).
    Because adding a suppressor to the firearm increases the weapons muzzle velocity, the fire rate of the suppressed weapon is slightly faster than its unsuppressed counterpart.

    Designed Mixes

    Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.

    UCS compatible metadata embedded

    All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.


   

Leave a Reply

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

HTML tags are not allowed.