Assassins Creed Valhalla sound Asbjoern Andersen


Ubisoft's Assassin's Creed Valhalla is one of the highest-rated games this season and one of the fastest-selling AC games — for consoles and PCs — in franchise history. Here, BAFTA-award winning Danish composer Jesper Kyd talks about finding the Viking voice of this score using traditional instruments, analog synthesizers, and even singing parts himself!
Interview by Jennifer Walden, photos courtesy of Ubisoft
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Ubisoft’s Assassin’s Creed Valhalla has hit a high note with fans. The Viking-themed RGP is an open-world game, so players are free to explore the environments, the settlements, and make mischief (without resulting to violence, if you choose). In addition to completing main missions and side-missions, players can engage in other activities like drinking contests, dice games, flyting (contest in which insults are exchanged in verse), hunting, fishing, and more.

A Viking-themed game deserves a bold Viking-esk score, and BAFTA-award winning Danish composer Jesper Kyd dug deep into his vocal range to produce the low, throaty singing associated with Nordic folk music. He expanded his musical repertoire to include traditional instruments like the Tagelharpa, Crwth, Rebec, and Morin khuur — which he performs himself in the final tracks.

Kyd collaborated with American composer, producer, and multi-instrumentalist Sarah Schachner (who is no stranger to Assassin’s Creed scores having done several herself: Assassin’s Creed Origins , Unity, and Black Flag) on the main title theme for Valhalla. And they both composed separate exploration music cues for specific areas in-game, cues for stealth and attack, and so on.

Here, Kyd talks about finding the sound of this score, selecting traditional instruments, and how he composed several tracks, like “Out of the North,” “Kingdom of Wessex,” and “Leofirth’s Honor.” Plus, he discusses his choice of analog synthesizers, performing vocals parts, and more!

 



Assassin's Creed Valhalla: Launch Trailer | Ubisoft [NA]


Assassin’s Creed Valhalla: Launch Trailer | Ubisoft [NA]

You’ve composed several Assassin’s Creed scores — for the original game in 2007, AC II, Brotherhood, Revelations… how does your experience on Valhalla compare to those?

Jesper Kyd (JK): The original Assassin’s Creed was very different. Obviously, being the first Assassin’s Creed game, we worked more on defining what the game sound should be. That was a lot of the focus. That’s where the idea was born of mixing the Animus with acoustic performances in ways that it kind of filters the sound.

And so, just to explain the Animus, it is this device that can tap into your genes and your DNA where you have stored memories from your forefathers. It can sequence those memories and then you get to play those memories as you play through the game. We worked very much on coming up with what that should sound like. It shouldn’t just sound like something that is a more straightforward or traditional score. There are all kinds of things we were doing, filtering the sound and editing and experimenting with the instruments.
Composer Jesper Kyd
So Valhalla was very different from the first Assassin’s Creed, AC II, and Brotherhood. The setting being in the Italian Renaissance, there was a lot there that had to be thought through. We had to establish how to create a modern version of that kind of music.

This time we were exploring these big environments. So that definitely influenced the sound of that score.

In comparison with Valhalla, I think one of the big things I took away from it is how big the game is. It is just vast. And it has a lot of open spaces, forests, fields, mountains and many beautiful vistas. Whereas the other titles I worked on — apart from the first Assassin’s Creed, which also had a lot of open landscapes — most of the games I worked on took place in cities. So there was more platforming around buildings.

Hear the Assassin’s Creed Valhalla score here:


This time we were exploring these big environments. So that definitely influenced the sound of that score.
It’s the fifth time I’ve worked with Ubisoft Montreal. I know those people pretty well, and they’re always a pleasure to work with. And I feel they are some of the best at what they do.

And, of course, working with a co-composer Sarah Schachner and songwriter Einar Selvik made it different as well.

 

ACValhalla_sound-11

Apart from the obvious Viking theme, what are other key visual elements that influenced your approach to the score? You just mentioned being in nature and being outside of the city. Could you elaborate on that?

JK: Yeah. The environment very much influenced the score and one of the first things that Ubisoft told me was how important the environment is in the game. All you have to do is look at the game and you can just tell that a lot of work went into this. So obviously they were looking for something authentic to match that environment.

The environments took center stage and the storyline came in after we started working.

So that also made it different because with games like Assassin’s Creed 2, of course, the Renaissance was important, but the storyline was very important as well in Assassin’s Creed Valhalla. The environments took center stage and the storyline came in after we started working. First, we needed to get the sound of what these environments were going to sound like before we could start adding the story. There was a lot of work put into how this should actually sound.

A lot of Viking music tends to be dark and have these dark pulses going through it. That’s how I thought of Viking music. So the first music cue I sent was way too dark. And not that there’s no dark music in the game, but we really wanted to start with what the environment sounded like — not when you are engaged in combat or when you are engaged in a mission, but what it just sounds like when you’re exploring these environments without being in danger. I made them more ethereal and more uplifting.

That was interesting to find a Viking sound that has that kind of sound to it. That’s a lot of what I worked on.

 

ACValhalla_sound-14

Let’s talk about your collaboration with Ubisoft Montreal’s audio director Aldo Sampaio and music supervisor Simon Landry. What were their goals for the score and how it related to the sound of the game overall?

JK: Authenticity was definitely number one. I was told early on that we’re not looking for an orchestral soundtrack. The environment needs to really influence the actual sound, not just the melodies but the very DNA of the music.

I realized pretty early on that I was going to have to acquire a lot of ancient instruments, such as Tagelharpa. I got a Tagelharpa Cello, which is a really big version of the Tagelharpa. Other instruments were more inspired by Celtic music, like the Crwth and the Rebec. I use a Morin khuur, which is a Mongolian cello, as well as a regular cello, metal drums, all kinds of things in there.

I realized pretty early on that I was going to have to acquire a lot of ancient instruments, such as Tagelharpa.

Not all of these instruments were around at the time… some of them were not, but that’s okay as long as when I play them, they feel like they fit the world. That is the most important thing.

And so, I got these instruments and I needed to figure out how to compose for them because I don’t know these instruments. So I started playing them and after playing them a lot, I figured, I’m just going to perform them myself because this is just so much fun. And so I was introduced to a world of string instruments and suddenly found myself playing all these instruments and spending all this time performing and tuning and having bleeding fingers and all these things were quite new to me.

I had performed some instruments in the past but on this one I pretty much perform everything myself, except maybe a couple of tracks that had an acoustic guitar in it for a “Kingdom of Wessex.” I had a good friend of mine perform that guitar. So that was pretty much the beginning of the project, realizing I’m not going to be able to achieve the vision I have if I don’t play these instruments myself.

 

It’s such an interesting palette of instruments that you found. How did you learn to play them? Did you find someone to teach you? Or, did you watch some YouTube videos? Did you learn to play them properly or just feel your way around them?

JK: Yes to the last one; no to all the other ones.

I didn’t want to learn how to play them properly…I want the performance to be rugged, to be rough around the edges…

So I didn’t want to learn how to play them properly. I wanted it to be a more spontaneous thing — the thought being that I want the performance to be rugged, to be rough around the edges, to have some kind of Viking playing them. Not to say that people back then couldn’t be great performers on whatever instruments were around. I felt it was important to get more of an organic performance.

But sometimes I do need a beautiful performance and so that’s when I rely on the soloists I work with. But for the majority of this, I felt like a more organic, rugged performance was the way to go.

So I just played them — taught myself, I guess — and just played and played and played until I felt like I was starting to get a good handle on it.

 

ACValhalla_sound-5

What about percussion? What did you choose for percussion for these tracks?

JK: There’s a lot of different percussion instruments, the frame drum being one of the key percussion instruments I used in all kinds of different sizes.

I used some unusual percussion instruments, like the spring drum. And I also used some Indian percussion.
I worked with two different percussionists and then I also did a lot of it myself. So between the three of us, we really worked on coming up with something gritty. That also means that percussion was run through different filters to really gritty things up.

 

Did you record the drums and then play them back as samples or was it all live performances?

JK: It’s all live, yeah.


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ACValhalla_sound-8

Let’s talk about some of those synthetic, virtual, and electronic instruments you chose to complement the traditional instruments that you have in the track. For instance, there’s this synthy element in “Leofirth’s Honor.” It just adds this cool, tense texture to the already dark track. So how did you go about finding really good synth sounds to complement the natural sounds of the traditional instruments?

JK: I have a fairly large collection of analog synthesizes from the 1970s and ’80s.
I’m a big fan of vintage synthesizers and the aesthetic they bring, and the palette they bring to the table. I feel back then, with Yamaha, and Roland, Korg — these companies, also American companies like Oberheim and Sequential Circuits and Moog — there was a search for creating the ultimate-sounding electronic instruments back in the ’70s, for sure. Yamaha created the ultimate performance instrument called the CS80, which you would recognize from all of Vangelis’s music — scores like Blade Runner and Chariots of Fire. It’s that lead Instrument in those soundtracks. So I have a CS80. It’s a monster. It’s like a 250-pound keyboard that I used quite a bit.

These are very much live performances. These instruments don’t have MIDI.

For the performance you specifically mentioned, that is a Prophet 10 from 1979, which is two Prophet 5s put into a box. So it’s also huge. And I have a lot of other analog instruments I used on that score.

So these are very much live performances. These instruments don’t have MIDI. Some of them have CV/gate so you can add a device and you can gate things up so you can play MIDI. But for the most part (especially the older instruments) they don’t. I really love the performance anyway. Performing these things, it’s very much a spontaneous thing. So that track you mentioned, “Leofirth’s Honor,” was the Prophet 10 on that.

 

[tweet_box]Jesper Kyd on Composing the Viking-themed Score for `Assassin’s Creed Valhalla'[/tweet_box]

ACValhalla_sound-10

What about the vocal parts? Those are really fantastic, too. On “Out of the North,” there’s this great ruff, staccato male voice that happens over the droney elements in that tune and then there are those super-long, drawn-out notes that remind me of Gregorian Chant for some reason…

JK: Right.

 

How did you find the singers? And where did you find the inspiration to write these parts?

JK: The female vocals are Melissa Kaplan, who also worked with me on Assassin’s Creed, Assassin’s Creed 2, Brotherhood, and Revelations. And she also sings the original “Ezio’s Family” track. Another vocalist I worked with was Clara Solace.

And then Einar Selvik provided vocals for the “Ezio’s Family – Ascending to Valhalla.”

The male vocals in all the other tracks were actually performance by me.

The male vocals in all the other tracks were actually performance by me. I’ve been working on my own vocal technique for a few years now. And I’ve used my voice in a few scores already like my Tumbbad film score, Borderlands 3, and Warhammer: Vermintide 2.

I started with vocal effects and then it grew from there. My voice can go quite low and also falsetto. So I felt it was a good fit for the Viking setting. That was a lot of fun to work on.

 

That’s your voice? Amazing! Some of those parts are really low…

JK: Yeah. And it’s real; I don’t put a lot of processing on that kind of stuff.

I found out I have a very deep voice and that is definitely something I’ve been using in my scores.

 

ACValhalla_sound-9

There are so many great tracks in the Valhallascore! Did any stand out for you as favorites? And what went into creating them?

JK: There are a few. “Kingdom of Wessex” is a good one to start with because that’s where I felt we found a way to do melodies, and at the same time create a sound that was very authentic and open; it’s a sound that fits when you’re climbing up mountain tops. I also added more Celtic instruments, like harps and guitars, in there. So it is a little bit different from the other tracks.

I felt we found a way to do melodies, and at the same time create a sound that was very authentic and open…

And I’m also super excited to get Melissa back on that track. So, for me, it felt like a very authentic Assassin’s Creed-type track. It reminded me very much of that sound that we’d been going for.

Another track, “The Frozen North,” I really liked because it was one of the first tracks I wrote and the timbre, the feeling, the atmosphere…it’s a very atmospheric track inspired by the location. It’s a very frozen landscape, and the feeling of that track felt like, okay, this is what I’d like my Valhalla music to feel like. And after that, I went and worked with more melody.

I love tracks like that, when you can’t quite put your finger on how or what you’re hearing but there is something mystical about that track…

But that was a very good starting point for me when I felt this really deepens the experience of what we’re seeing here. So yeah, that’s why I would choose that one.

Also, “The Bounteous Earth” is a personal favorite. It’s hard to pinpoint what it is that makes me like that track but there is a feeling in there that’s hard to describe.
 


Highlights from A Sound Effect - article continues below:

 
  • Using the popular module format, the 6030 Ultimate Compressor offers ten different compressors. All of these designs are by McDSP – some completely from the ground up, while others are emulations of existing gear with unique variations created by McDSP. Each 6030 Ultimate Compressor module is easy to operate, and yet has enough sophistication for the most discerning professional.

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  • The AE600 is the next generation of active equalization. New and unique EQ modes, independent control of fixed and active EQ bands, and an ultra low latency algorithm make the AE600 the perfect solution for any audio production.
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    McDSP plug-ins require an iLok2 USB Smart Key for authorization.

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  • FilterBank, McDSP’s first product, is an equalizer plug-in that rivals any analog EQ with its flexible design and substantial feature collection.
    FilterBank can emulate any EQ, or be used to create a distinct custom EQ.

    FilterBank is 3 plug-ins:
    • E606 – parametric, high and low shelving EQ, high and low pass filters
    • P606 – parametric EQ with variable Q modes
    • F202 – steep high and low pass filtering with resonant Q control
    With its unique Peak, Slope, Dip controls and variable Q modes FilterBank can emulate any EQ, or be used to create a distinct custom EQ.

    Features

    • Shelving and Parametric EQ
    • High and Low pass filters with resonance control
    • Unique Peak-Slope-Dip Shelving EQ parameters
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    • Analog Saturation Modeling
    • Double Precision Processing
    • Ultra Low Latency
    • Mono and Stereo versions

    Formats
    • HD v6: AAX DSP/Native, AU, VST

  • Dialog. The focal point of any movie, television show, documentary, or for that matter, any creative media production involving the spoken word. Add to the mix a sweeping musical score, dozens of foley effects, and plenty more – and it becomes clear the job of dialog mixing is a tall order. After all, if you can’t hear what the actors are saying, why watch it at all!!

    The SA-2 Dialog Processor is based on hardware originally conceived by Academy Award winning re-recording mixer Mike Minkler and used on over 100 major motion pictures. The SA-2 is designed to improve the overall sound of recorded speech. But the SA-2 is not just for dialog. It’s equally useful for vocals, and is a great tool for adjusting the timbre of any track, a reliable de-esser, and a fine multi-frequency compressor, in our completely biased opinion.

    The SA-2 Dialog Processor is made up of 5 bands of strategic active equalization, configured in a variety of modes to best address common issues of dialog. Each band of active equalization has a threshold control to determine at what signal level the active equalizer begins to effect the signal. There are also enable buttons for each band to quickly audition the effect of any given band. Two mode selectors – one for controlling the ballistics of the active equalization, and a second for placing the five bands at strategic locations in the frequency spectrum. Finally, there are input and output gain controls for overall adjustment.

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    • Five independent bands of strategic active equalization
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    • Native v6: AAX Native, AU, VST

  • Realtime Pitchshifting PlugIn version 2!

    Elastique Pitch is the real time pitch shifting solution for RTAS, VST, AU and AAX. Powered by zplane’s élastiquePro pitch shifting engine which is used by millions of end users around the world, the plugin ensures the highest, program independent pitch shifting quality.

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    • Program-independent high quality with the highly-acclaimed élastiquePro v3 engine (speech, single-voiced, classical/popular music, etc.)
    • phase coherence: absolute phase stability between all channels
    • MIDI input: for pitch control
    • formant shifting: shift formants independent from pitch
    • factory presets: for typical film pull-ups/pull-downs
    • AU, VST, AAX and RTAS support for Mac & PC

    technical specifications

    • audio format: 1-8 channels (I/O), 44.1-192kHz sample rate
    • plugin format: AAX, RTAS, AU, VST
    • pitch range: ± 12 semitones = 50-200%
    • timbre range: ± 12 semitones = 50-200%
    • plugin latency: 150ms @48kHz
    • min. system CPU: 2GHz
    • OS: MacOsX >10.6.8, Windows 2000/XP, Vista, Win7/8
    • Host: Pro Tools > V8

    DOWNLOAD THE DEMO HERE
    WIN | MAC

  • An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.

    Mixing and mastering features
    Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

    Effortlessly sculpt your sound
    FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
    Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

    FabFilter goodies
    Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.

  • A crush on music

    Distortion and saturation play a very important role in music production. From subtle, clean and warm tube or tape saturation to the wildest multiband guitar amp effects: FabFilter Saturn 2 delivers.

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    FabFilter Saturn 2 offers a range of different high quality distortion models, inspired by the vintage sound of tubes, tape, transformers and guitar amps. In addition, you get five creative FX distortion styles to mangle your sounds in weird and unexpected ways.

    With its multiband design and per-band feedback, dynamics, drive, tone and modulation options, Saturn 2 will bring a unique flavor to your music.

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    Add life and depth to your music using the extensive modulation section. By applying subtle modulation to crossover frequencies, dynamics, band levels or tone controls, great warmth and definition can be achieved.

    With all the XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources you will ever need, you get practically unlimited modulation possibilities. Creating new modulation connections could not be easier: just drag and drop. And Saturn 2 visualizes all modulation in real-time to show exactly what’s going on.

    FabFilter goodies

    Finally, FabFilter Saturn 2 contains all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, interface resizing and full screen mode, support for Avid control surfaces, GPU-powered graphics acceleration, extensive help with interactive help hints, SSE optimization, and much more.


And I love tracks like that, when you can’t quite put your finger on how or what you’re hearing but there is something mystical about that track and quite mysterious with these ancient instruments being delayed with analog delays in very kind of organic ways,

…the mics would be quite far from the instrument; I would have this air in the recording to simulate being outside…

but also certainly very modern ways, because this is not something, obviously, you could do back then.

Also, the idea of working a lot with air is something I have in some of my favorite tracks, where I would record things and the mics would be quite far from the instrument; I would have this air in the recording to simulate being outside amongst the mountains, fjords and forests.

And so that is another technique actually, I used on the score.

 

ACValhalla_sound-7

How did you prepare your tracks for implementation into the game? Did the audio director or music supervisor ask for specific stems for 5.1?

JK: So I would record the track and if there were any changes, I would make the changes. Then I would submit the track to Ubisoft. They would put it in the game.

They would have already sent me a video, like fly by over a landscape to be inspired by, and they would put the track in the game and send me back another video so I could see how it works in the game — this time it would be from more of a gameplay perspective. That was super helpful to see and a great way to work when you’re sending things back and forth.

…they would put the track in the game and send me back another video so I could see how it works in the game

So, the score would be written like this. Towards the end of the project, I delivered the stems for all the cues to Ubisoft. Also, we started mixing the cues and recording stems and I sent those to my mixer Jason LaRocca and he started mixing it.

We mixed all the tracks and then I sent those tracks back. We started working on a soundtrack, doing minor edits and coming up with the tracklisting, working on track names, and so on. The album is almost ready but first it goes to mastering.

And we give feedback on the mastering and then once that’s approved, then the soundtrack is ready and then it goes out.

 

ACValhalla_sound-13

And who was your mastering engineer on the OST?

JK: The soundtrack was mastered by Patricia Sullivan at Bernie Grundman Mastering. I actually don’t know whether she is mastering this at home or at a Bernie Grundman Mastering because of COVID, you know? But I absolutely love the mastering she did on this. I was really, really pleased.

 

Can you talk about your collaboration with composer Sarah Schachner?

JK: I collaborated with Sarah for the main theme and that was written towards the end of the project. All the music prior was written separately. We got different areas to score so when it comes to the exploration part of the game, the areas I was assigned were Norway, East Anglia, Northumbria, and Wessex. I also did the music for the present — the more futuristic Animus-sounding music.

I would write one and Sarah would write one and they would have two stealth cues.

Then we were both assigned cinematics. And we were both assigned mission music. So if there was a stealth cue, I would write one and Sarah would write one and they would have two stealth cues. Pretty much all the mission music worked that way.
And just to be clear, of course, Sarah had her areas that she scored for exploration as well.

 

ACValhalla_sound-4

When collaborating on the main theme, how did you two share ideas back and forth? Were you sharing sessions or were you sharing tracks?

JK: So I had a really great talk with Ubisoft, specifically Simon Landry (music supervisor) from Ubisoft Montreal, about what they were looking for with this theme: what it should sound like, what it should feel like, and how it should be used in the game. I wrote a first version of the theme. Ubisoft really loved it. And then I sent that to Sarah. And she continued writing on it and also started producing it. And then Einar Selvik got involved and did the vocals. And that was how we created that.

 

ACValhalla_sound-12

What are you proud of in terms of your score on Valhalla?

JK: The biggest challenge was definitely to work out how to write music that sounds like Viking music, but at the same time, isn’t just dark with a heavy pulse. So I would say that’s what I’m most proud of.

Also, just to be able to write this score with the instruments that I laid out in front of me and to say, you’re going to learn how to play these instruments.

That was really an interesting experience and a very rewarding one. So that was another great thing about working on this project.

 

A big thanks to Jesper Kyd for giving us a behind-the-scenes look at the score o Assassin’s Creed Valhalla and to Jennifer Walden for the interview!

 

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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:

  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $39.50

    This SFX library contains a wide range of reactions and emotional responses varying from quiet crowds to roared battle cries to a large selection of exclamations generated by a group of passionate theatrical actors in indoor venues.

    Apart from the vocalizations, we’ve also included recordings of more unusual crowd ambiances like people walking around the mics, falling down, sitting down and getting up, jumping around, marching, or just being present in the space.

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    Small Groups: Includes small groups of up to 30 people which you can layer together and quickly create the sound of any sized realistic groups of people.

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  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $25

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    Inspired by app market hits like Clash of Clans and Candy Crush, we present to you Mobile Game – a truly fun and genuinely gameplay inspired sound effects library. Filled with a thorough selection of popular game ready audio assets, Mobile Game gives you sounds that you can quickly implement inside any game to give it a familiar “hit app” game feel.

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  • Presenting the most malfunctioning, dirty old gritty sounding engine failure library out there

    Featuring a staggering 81 files with numerous takes in most tracks, the Kaput sound effects library will cover the bases of almost any broken false starting engine scene one can imagine.

    I can honestly say, that finding the vehicles and tools for this library, has been among the most challenging I have come by. Old and broken cars and trucks are hard to come by these days. Most cars are obviously either driving and dont have start problems, and many of the rest just wont start at all.

    Just as rare are broken petrol powered tools, which usually fit the latter category of not working at all.

    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

    24 different cars, trucks, moped and motorcycles

    1 boat engine

    A few weird sounding power generators and water pump motors

    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

    Brutal construction machines

    From old eastern european trucks, vintage US V8 muscle trucks, classic scandinavian cars, and more modern diesel and petrol engines to funny sputtering dying petrol power tools.

    There is even a few more recording sessions planned, that just didn’t make the deadline for the first batch of sounds in this library (buying a copy of this first of sounds, will of course make any future sounds added to the library free of charge).

    KAPUT is 81 stereo and mono files, 96/24. 1,6 gb big, all UCS ready!

  • Hear the majesty of tropical seas from soothing surf, trickling water laps, and crashing wave sound effects.

  • ACOUSTIC GUITAR FOLEY FOR YOUR PROJECTS
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  • The Drawers & Cupboards SFX library is an essential collection for professionals seeking high-quality sound effects for their projects. This library features 63 meticulously recorded sounds of opening, closing, and rummaging through cupboards and drawers, making it perfect for game developers, animators, and filmmakers.

    This library offers a diverse range of sounds, including:

    • Opening and closing cupboard doors
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  • Car Sound Effects Broken Car Engine Play Track 5 sounds included, 28 mins total $27

    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.


   

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