Asbjoern Andersen


How do you create great sound design for animation? Turns out Jeff Shiffman from Boom Box Post knows a thing or two about that:

Jeff has built a career doing animation sound design, having worked on numerous animated series such as Teenage Mutant Ninja Turtles, Thundercats, The Looney Tunes Show, Transformers: Animated, Ben 10, Kick Buttowski and countless others.

And in this special post for A Sound Effect, he exclusively shares his favorite tips, insights and stories from his many years of doing animation sound design:

 

As a medium for sound design, you can’t beat animation. I’ve created countless robots and aliens. Built a career on animals practicing martial arts, transforming jet packs, spaceships and futuristic racers. I’ve traveled to the far end of the Galaxy and destroyed the known universe more than once (it turns out, there are a LOT of ways to go about destroying the world). Not to knock live action in any way. In fact, I have been lucky enough to work on many live action films that were design-heavy; particularly in need of that extra special sound treatment.

Still, when you add it all up a career in animation sound design is going to be interesting to say the least. The chance to bring this medium to life entirely from scratch is a thrill for me and I feel very lucky to have fallen into what I consider to be the most fun part of the entertainment business. It’s my pleasure to share some of my world with you.
 

WORKFLOW: A STEP BY STEP COMPANION

Our animation workflow is very streamlined. I sit down with the producers and we talk about what they are looking for in that specific episode. Special shoutout here to the iPad app CutNotes. With MIDI sync to my Pro Tools session, this app allows me to quickly take timecode specific notes in real time as I sit with clients. I’m playing back picture, interacting and typing notes (on my latest obsession, the Clamcase Pro) all in one seamless workflow. If you haven’t tried CutNotes, grab it now. You will not be disappointed. I then paste the notes into folders which are shared with all team members via our cloud based Google Drive system.

Ideally, on any new series we will start off with a lot of recording and slowly build our show library. This front-loaded work pays dividends.

I always try to build an editorial schedule that allows for time to experiment; to be inventive. Ideally, on any new series we will start off with a lot of recording and slowly build our show library. This front-loaded work pays dividends. The less we rely on existing library materials, the more original a show will sound over the course of time. That means anything that can be signature, will be. From sweetened real world weapons to lasers and spaceships, it’s all original. We will also record loads of props for editorial. Anything small and tedious gets recorded to picture the first time. We then library it and have it on hand for future editorial.

After principal editorial, I have the chance to assemble all of our team’s work. This final stage gives me one last chance to check in. I’ll make sure any client notes from the spotting session are properly addressed and take the time to digest the episode as a whole. This is also a great time to set some general levels so the client playback is as balanced as possible.

At this stage I’ll preview the work with the clients, addressing any notes. Then dialog and music are added in and the show is predub mixed. The predub usually overlaps any final picture adjustments which conveniently gives me time to make any necessary updates or adjustments as new picture rolls in.

The last step is the mix. A mixer spends all morning fine tuning and the clients show up for the latter part of the day. By the end of the day we have another episode in the can. I love this workflow because each stage presents a new challenge. Work never gets stagnant. By the time you finish each episode, it feels like a mountain has been climbed and that feeling of accomplishment gets you excited for the next one (which will likely start the very next day).
 

COLLABORATION: YOU’RE ONLY AS STRONG AS YOUR TEAM

Animation can be a very work intensive medium. I would not be able to accomplish the level of work at the pace needed for most animation schedules without a team I can count on. I’ve got a handful of fantastic editors that I work with here at Boom Box Post. We are a team. It’s that spirit of collaboration that has made us successful. I don’t see sound design as a rock star medium (although my mom would beg to differ). When a client remarks on a particularly cool sound created by one of my team members, I let the client know who was behind it. Then I pass the positive feedback along to that editor. It’s not revolutionary. The feedback encourages more creative work and in the end we are all proud of our shared effort.

Speaking of sharing, while working on a series edited at Boom Box Post, we encourage our editors to be open with anything created for that show. Creating, organizing and ultimately sharing any new material custom made for that series amongst the editors of that series is expected. This spirit of sharing allows for us to exponentially build our library and encourages everyone to be creating new material every single day. I’m as excited to hear the new library additions from my editors as I am creating material myself.


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As for sourcing these sounds, we tend to go about it in one of three ways. Our first source (and my personal favorite) is synthesis. If the sound requires it, I jump at the chance to build something from scratch.

Some of my absolute favorite recordings are total guerrilla efforts.

Of course another great option is to record new material. There is no need (nor usually any time) to be crazy about recording techniques.
Grab a mic and a portable recorder and get something down. Some of my absolute favorite recordings are total guerrilla efforts.

For an episode of Teenage Mutant Ninja Turtles, I needed to create a monster made of organic material (leaves, twigs, dirt, etc). I decided to record in our spare room on a Sony mini recorder. The morning of this particular recording I must have been distracted because I remembered as I headed for my car that I wanted to try and get some new material for this monster. I ended up running around my yard tearing away at the landscaping. My wife, initially puzzled, remembered I had mentioned the idea and ran outside behind me with our daughter, joining in on the materials gathering. “Will this work?” She kept shouting from across the yard holding branches, dead flowers and sticks above her head. Needless to say, my 18 month old daughter was both confused and amused. These are the moments I love. This is why our job is so fun.

Back at the office, I tore that brush up! The room I recorded in looked like it was hit by a hurricane when I was through and the sounds were incredible. For years I would squint trying to manipulate the few brush and leaf sounds I had in my library and now I have an amazing kit of brand new original sounds. As a third option, anything beyond the scope of recording and synthesizing can be filled in with high quality library recordings.

The room I recorded in looked like it was hit by a hurricane when I was through and the sounds were incredible.

It’s been such a pleasure to support independent creators of sound effects libraries. Almost everything we build ends up in layers. It’s very rare that a single sound effect works well on its own and building a moment by layering different effects gives us another chance to make something new.
 

TOOLS: DREAMING OF HARDWARE, WORKING WITH SOFTWARE

As a lover of both sound design and 80’s Pop music, it’s only natural that I would be a bit crazy for synths. I dream of a room filled with all the best Vintage gear, in top shape, ready to turn on and record at a moment’s inspiration. The sad truth however is those synths can be a lot of work. Vintage can be quirky. Older gear can have all kinds of outputs and getting them to play nice with my Pro Tools setup would take away time better spent on the creative process. I still dream of that room, and may even find the time to build it some day, but in the meantime I have a secret weapon.

The iPad has been an indispensable tool for me. There are people out there significantly more obsessed with synthesizers than I who are meticulously modeling them for the iPad. The best part is these apps are insanely affordable. Most of these apps are under $10. I don’t care how much of a gear head you are, there’s no argument against the value you get for the money. Not to mention, the majority of what I make ends up ported into Pro Tools for some more manipulation, so the nuances of true Analog aren’t necessarily going to shine through in the end. If you are a sound designer and you want instant inspiration, pick up Sunrizer or Magellan. The presets are a great start but these synths have such a level of control to them, anything is possible. My new favorite tool is Samplr.

The multitouch in conjunction with the ability to record your movements in loops opens up possibilities you can’t even think up when simply triggering from a MIDI keyboard.

The concept is such a no-brainer when you think about it. Samplers are fantastic sound design tools but once you drop touch control into the mix, you are suddenly able to ‘play’ your sounds in an entirely different way. The multitouch in conjunction with the ability to record your movements in loops opens up possibilities you can’t even think up when simply triggering from a MIDI keyboard. I’m learning about new apps every day and it’s all I can do to avoid buying and trying every one of them (which, at this price point, isn’t unreasonable). Find your new tool within the iPad and go invent something we have never heard before. This technology is allowing us to be explorers and I’m so excited to see where it leads us.


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


Trending right now:

  • Seismic Core is a modern sound effects library crafted to give your sound design its defining foundation. Every element in this collection is built for layering. Designed not to dominate, but to enhance, shape, and energize your creations. Whether you’re working on cinematic hits, trailers, motion design, game audio, or abstract sonic branding, Seismic Core delivers the essential low-end weight, transient snap, and textured grit that bring your designs to life.

    These sounds are meticulously processed and polished, yet intentionally left with enough space to sit perfectly under your own layers. They’re bold enough to add instant character, but subtle enough to leave room for further creativity. This makes Seismic Core not just a toolkit, but a true starting point for powerful, flexible, and unique sound design.

    This collection of Building Blocks contains following categories:

    • IMPACT *
    • BREAK *
    • WHOOSH *
    • SUSTAIN *
    • TRANSIENT (high and low)

     

    * Also including HEAVY & SUB variants

    Build with it. Layer on top of it. Drop the anchor. Feel the quake. Design from the core.

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    Jason’s meticulous approach to field recording and sound selection ensures that this library isn’t just about capturing toy sounds—it’s about unlocking rich, unique sonic textures that are ideal for games, film, animation, and futuristic sound design. With contributions from longtime SoundMorph sound designers Andrew Pals, Tibo Csuko, and Vincent Fliniaux (GORE 2, WATER, Robotic Lifeforms 2), TOYED is built to deliver exceptional quality and usability across multiple production styles.

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    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

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    – Win/Mac: Yes
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  • 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.

  • With this lemur sound library, you’ll find 18 high-quality audio tracks, each featuring multiple variations. This collection captures the distinctive sounds of these curious animals in great detail.

    Easy to Use Structure
    All recordings are uniformly labeled to integrate smoothly into your workflow, making it easy to select, combine, or replace takes based on your creative needs. This library includes the typical short calls lemurs produce, such as sharp squeals, brief meows, and rhythmic wails.

    Captured at Very Close Range
    The sounds were recorded at very close proximity, allowing for exceptional clarity and detail. As with many of our other libraries, we used high-end recording equipment, including:
    – Sennheiser MKH 8050
    – Sanken CO-100K
    – Zoom F6
    – Zoom H6

    The ultrasonic capabilities of this setup allow for pitch shifting without losing depth or richness, making these sounds ideal for fantasy creature design or realistics purposes.

    Professional Standards & Quality
    Resolution: Recorded at 24-bit / 192 kHz – 96 kHz, and delivered in the same formats, ensuring outstanding detail and dynamic range.
    Editing: All tracks were meticulously cleaned to remove unwanted background noises such as birds, wind, footsteps, or human activity, delivering a clean, professional-grade product.

    Ideal Applications
    Video games: Add realism and depth to the natural environments of your games.
    Cinema and Documentaries: Enrichment of the audiovisual product with authentic sounds.
    Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical Details
    Total Tracks: 18 (approx. 34 isolated sounds per mic, total of 102 sounds
    Format: 192 kHz – 96 kHz / 24-bit
    Equipment Used: Zoom F6 with Sennheiser MKH 8050 and Sanken CO-100K microphones, plus Zoom H6 for stereo
    Total Duration: 1 minute and 11 seconds

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  • Thunder Drums is a sound effects library designed to deliver powerful low-frequency impacts, rumbles, and strikes for cinematic sound design. It features non-traditional percussion instruments, including a thunder tube (spring drum), loose drumheads, and large plexiglass sheets, struck with mallets and drumsticks to produce a wide range of impacts, thunder-like rumbles, deep strikes, and heavy drum hits.

    In addition to raw recordings, the library includes designed elements enhanced with granular processing, distortion, and impulse response reverbs. Perfect for sound design in film, games, and trailers where powerful hits and low-end energy is needed.

    All sounds were captured using a Sennheiser MKH 8050 microphone and Zoom F6 recorder at 32-bit / 192kHz, and are delivered as 24-bit / 192kHz WAV files. The library includes 185 files (512 sounds), is 3.7 GB in size, and is fully UCS-compliant with embedded metadata.

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IN PRACTICE: SHOWING SOME LOVE FOR HYPER REALITY

On an episode of Kick Buttowski, the two main characters are racing to get a lawn mowed. The sequence is staged like a NASCAR race. The lawn mowers needed to transform from the real world to the hyper real, taking on the quality of high performance race cars. The camera swoops under the mower, through the blades and into the internal combustion engine. We glide over the gas tank and see the spark ignite the fuel, jetting us out the exhaust and starting the race. Imagining and executing this a sequence like this is so much fun. The humor is there simply with the setup, but we take it further in supporting this David Fincher-style camera movement. I started by designing whooshes to sweep us around with the camera.

This is where sound design starts to feel like composing.

With those in place, it’s already clear we are entering a new dimension. Then it was all about choosing sounds to sweeten each new section of the mower as we fly by them. This is where sound design starts to feel like composing. There’s a rhythm established here by the video editor, which we are then tasked to support and embellish.

When all was said and done, this was a sequence that didn’t need music. It’s one of those rare occasions on the mix stage where the producer decides to just let the sound design guide us through and I’d be lying if I said I didn’t get a secret thrill out of these moments. These sequences can be a lot of work and it’s ultimately a toss up as to whether score or sound design will win out in the mix. It comes down to what’s better for the show as a whole, and I’ve become better over the years at letting go. It’s important to recognize what serves the greater good. That day however, we scored one for the sound team!
 

EMBELLISHING DIALOGUE: SUPPORTING CHARACTER WITH EFFECTS

On most series, dialogue simply arrives and gets worked in on mix day. However, I’ve worked on many series where dialogue is sweetened. There are many potential pitfalls when treating your dialogue in any way. For starters, dialogue is king and the last thing you want is for your sweetening to make it unintelligible. That’s a real concern. That said, sweetening dialogue with a light touch can add a whole new dimension to your work. In Ben 10: Omniverse, we sweetened almost all of Ben’s ‘Aliens.’ This allowed us to work some extra personality into each character, accentuating the fantastic performances given by the cast.

One of my favorites was Shocksquatch, a yeti-like character with a Canadian accent. Shocksquatch had electrical powers and a pretty deep voice. I ran all of his vocals through a gate that triggered steadys of electrical crackling. Every time he spoke, the gate opened up and the electricity balanced in under the performance, giving the illusion that his voice box had electrical activity inside of it. For an added dimension, I also ran all of his dialogue through LoAir to push the lower frequencies in the performance and help boost his overall size. Other characters on the show were pitched, doubled, fed through convolution reverbs and vocoded (sometimes all of the above!). This boiled down to a lot of extra work but paid dividends in terms of building character and fleshing out the alien world.

Another approach we often take is to layer real animal sounds under the dialogue (growls, roars, breaths, etc).

Another approach we often take is to layer real animal sounds under the dialogue (growls, roars, breaths, etc). I first started experimenting with this process while working on Thundercats. Lion-O would roar and we would lay lion roars in, time compressing to match the actor’s performance length. The goal was to blend the two as seamlessly as possible. Tygra was sweetened with tiger roars and growls, Panthro a panther, etc. Cheetara… well we used cougar sounds for Cheetara. At the time, we couldn’t find any good cheetah sounds! Still, you get the idea.

We extrapolated this process as the Thundercats met more species on their journeys. Lizard and frog vocals were especially fun to play around with. Elephants, various birds, even fish men, nothing was off limits. By the time the first season of that show had completed, we had experience using this process with just about every animal species. Where appropriate, I now use this kind of sweetening on all my shows.
 

COMEDY IN ANIMATION: SOUND DESIGN AS A SUPPORTING ROLE

If you’re working in animation, odds are you’ll be called upon to work on some comedic properties at some point in your career. I’ve had the pleasure of working on many animated comedies as well as action-comedies, that lovable hybrid that tends to really hit the sweet spot with audiences. The point is, you’ll want to be sure you have the chops to handle humor when it comes across your desk. I’ll be honest and say that being funny certainly helps. Humor is very subjective and one of those things that would be extremely hard to teach.

I’ve seen first-hand how moving a sound effect only a few frames can change a moment from flat to outright hilarious.

An understanding of comedic timing is extremely important. I’ve seen first-hand how moving a sound effect only a few frames can change a moment from flat to outright hilarious. If you find your comedy chops are lacking, the best advice I can give is to immerse yourself in lots of funny stuff. Find what makes you laugh, both broad and subtle, and dissect what’s funny about it. See how a pause between a reaction or line of dialog can be used for your benefit and work with it. Remember that farts, although overused, tend to be funny to just about everyone (for real, just go with it).

One warning however, don’t create jokes where there are none. This is a really common pitfall with newer editors. They are working on a funny show and trying their best to cram in as much humor as possible. Sound design will always be a supporting cast member in comedies. Trust that the writers understand the balance of humor needed in the show and simply use sound to support or plus the existing comedy.
 

THE SECRET TRUTH: COMPOUNDING INTEREST

There are many tips and tricks, lots of knowledge I’ve picked up along the way through trial and error, some of which I’ve tried to share here with you today. However, staying true to the title of this post, I want to leave you with one last thought. The secret truth is, the key to great animation sound design is great clients.

I don’t want to sound like I’m pandering. It’s certainly easy to praise the folks who bring you the work. That’s not what this is about. When I look back at my career thus far, I have to trace all of my success to the people that not only showed up at my door, but challenged me week after week to surprise them. To knock them over with laughter or to bug their eyes out with some whacked out synthesized creation they’ve never heard before. It sounds simple, but complacency is the enemy of any creative work, and animation is a medium that doesn’t have room for ‘good enough.’ At least not for the people I’ve worked with, and for that I am eternally grateful. My number one piece of advice is to cultivate a client base that looks forward to stepping into your office and being wowed every single time. They’ll keep you honest.

It wouldn’t be fair for me to simply leave you with that. Having a stable of talented animation clients doesn’t come from luck or magic. It’s about the work. To cultivate your own great client base, do great work. Every single time. It doesn’t matter if there’s little to no money. When you’re starting out, pick the projects that inspire you and knock them out of the park.

Talented creatives will go on to do great things. They will remember you as the passionate sound designer who would not compromise their work and they will bring you along.

Talented creatives will go on to do great things. They will remember you as the passionate sound designer who would not compromise their work and they will bring you along. There’s an old adage in production: “You’ve got good, cheap and fast, pick 2.” That adage is crap. There should be no room in your career for just cheap and fast. If you’re sacrificing the good, you’re shooting yourself in the foot. Want a long career working on really fun stuff with people that are excited to see how you can add your stamp to their projects? Work your tail off. Do great work.
 

IN CONCLUSION: ADDING IT ALL UP

It has taken many years and countless projects to get to a place where I’m able to focus on creativity without sweating the constraints of time or budget. With experience comes efficiency coupled with the confidence to spend time trying new things. These tips on workflow and suggestions for creative tools are a great jumping off point, but can only take you so far. Take my advice and surround yourself with talented people who will push you to new creative heights. Challenge yourself to break out of your usual bag of tricks and try new tools that may not even be intended for sound design just to see what comes out. There is no right or wrong in the world of animation sound design. In the end, if it sounds good coming out of the speakers you’re on the right track. Animation grows from pure imagination. Build on that. Above all, be proud of the work you put out there on every single job.

And if all else fails, put a fart sound in there.

 

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About Jeff Shiffman
Jeff Shiffman (@soundslikejeff) is the co-owner of Boom Box Post, a Post Production sound studio in Burbank, CA. Follow Boom Box Post (@boomboxpost) on Twitter and visit www.boomboxpost.com, where he and co-owner Kate Finan (@kate_finan) blog about creative sound design.
 



 
 
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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:

  • Seismic Core is a modern sound effects library crafted to give your sound design its defining foundation. Every element in this collection is built for layering. Designed not to dominate, but to enhance, shape, and energize your creations. Whether you’re working on cinematic hits, trailers, motion design, game audio, or abstract sonic branding, Seismic Core delivers the essential low-end weight, transient snap, and textured grit that bring your designs to life.

    These sounds are meticulously processed and polished, yet intentionally left with enough space to sit perfectly under your own layers. They’re bold enough to add instant character, but subtle enough to leave room for further creativity. This makes Seismic Core not just a toolkit, but a true starting point for powerful, flexible, and unique sound design.

    This collection of Building Blocks contains following categories:

    • IMPACT *
    • BREAK *
    • WHOOSH *
    • SUSTAIN *
    • TRANSIENT (high and low)

     

    * Also including HEAVY & SUB variants

    Build with it. Layer on top of it. Drop the anchor. Feel the quake. Design from the core.

    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

    45 %
    OFF
    Ends 1754776800
  • Charge up on magical energy with our Spells Variations Vol 1 sound library! We’ve designed this collection to give you a wide range of magical effects, allowing your project to shine with an extraordinary variety of sounds. With 361 fully categorized and carefully named magic sounds, you’ll have everything you need to create an immersive and magical atmosphere.

    Explore categories such as arcane magic, water magic, electric magic, zaps, whooshes, celestial magic, dark magic, summons, and much more. Each effect has been meticulously recorded,edited and distributed at 192 kHz and 24-bit, ensuring exceptional sound quality. Whether you’re a professional sound designer or just looking for magic effects to drag and drop into your projects, you’ll find what you need here.

    Our files have been named to reflect the essence of each magic, making it easy to intuitively find the perfect sounds for your creation.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical elemental 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
    – 361 spell sounds
    – Number of Audio Waves: 361
    – Format: 192KHz / 24 bits
    – Do Sound FX loop yes
    – Minutes of audio provided: 12 minutes and 31 seconds

    45 %
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    Ends 1754776800
Explore the full, unique collection here

Latest sound effects libraries:
 
  • 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.

  • With this lemur sound library, you’ll find 18 high-quality audio tracks, each featuring multiple variations. This collection captures the distinctive sounds of these curious animals in great detail.

    Easy to Use Structure
    All recordings are uniformly labeled to integrate smoothly into your workflow, making it easy to select, combine, or replace takes based on your creative needs. This library includes the typical short calls lemurs produce, such as sharp squeals, brief meows, and rhythmic wails.

    Captured at Very Close Range
    The sounds were recorded at very close proximity, allowing for exceptional clarity and detail. As with many of our other libraries, we used high-end recording equipment, including:
    – Sennheiser MKH 8050
    – Sanken CO-100K
    – Zoom F6
    – Zoom H6

    The ultrasonic capabilities of this setup allow for pitch shifting without losing depth or richness, making these sounds ideal for fantasy creature design or realistics purposes.

    Professional Standards & Quality
    Resolution: Recorded at 24-bit / 192 kHz – 96 kHz, and delivered in the same formats, ensuring outstanding detail and dynamic range.
    Editing: All tracks were meticulously cleaned to remove unwanted background noises such as birds, wind, footsteps, or human activity, delivering a clean, professional-grade product.

    Ideal Applications
    Video games: Add realism and depth to the natural environments of your games.
    Cinema and Documentaries: Enrichment of the audiovisual product with authentic sounds.
    Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical Details
    Total Tracks: 18 (approx. 34 isolated sounds per mic, total of 102 sounds
    Format: 192 kHz – 96 kHz / 24-bit
    Equipment Used: Zoom F6 with Sennheiser MKH 8050 and Sanken CO-100K microphones, plus Zoom H6 for stereo
    Total Duration: 1 minute and 11 seconds

    45 %
    OFF
    Ends 1754776800
  • City Life Sound Effects NSL – 60s TRAINS Play Track 51 sounds included, 100 mins total $15

    This Sound-Pack features a diversity of 51 Punctual Sounds, including Train Pass by, Onboard High Speed Rolling, Raw Metal Railway Sounds, Train Doors, and a lot more !

    40 %
    OFF
  • The Heart Beat library is a small collection of real heart beat recordings captured using stethoscope. Featuring BPMs from 50 to 120, this library covers a range of emotional states—from calm and resting to tense and elevated.

  • Thunder Drums is a sound effects library designed to deliver powerful low-frequency impacts, rumbles, and strikes for cinematic sound design. It features non-traditional percussion instruments, including a thunder tube (spring drum), loose drumheads, and large plexiglass sheets, struck with mallets and drumsticks to produce a wide range of impacts, thunder-like rumbles, deep strikes, and heavy drum hits.

    In addition to raw recordings, the library includes designed elements enhanced with granular processing, distortion, and impulse response reverbs. Perfect for sound design in film, games, and trailers where powerful hits and low-end energy is needed.

    All sounds were captured using a Sennheiser MKH 8050 microphone and Zoom F6 recorder at 32-bit / 192kHz, and are delivered as 24-bit / 192kHz WAV files. The library includes 185 files (512 sounds), is 3.7 GB in size, and is fully UCS-compliant with embedded metadata.

    20 %
    OFF

   

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