Asbjoern Andersen


If you're running a smaller audio post production company, how do you thrive and grow when you're in an industry with many, much-larger players?

That's what Doug Siebum set out to find out with this interview, centered around the topic of 'subversion': Here, he speaks with William McGuigan who has been doing post sound for over 12 years and is the proud owner of Gypsy Sound in Los Angeles. His credits include Chef's Table, The Kings of Summer, You're the Worst, Stan Against Evil, and, through Skywalker Sound, Kong: Skull Island.


Written by Doug Siebum, photo by Johnny McPheeters
Please share:
 

Doug Siebum (DS): Hi William, thanks for making the time to join us today. Can you tell us about your history? What first got you interested in sound for television and film?

William McGuigan (WM): My start in post sound is much like most people, through music. I went to audio school with the hope that I could combine my music background with my aptitude for tech. I thought I could live the life of a rock star — without having to actually be one. I worked at a few music studios, getting to work on a good balance between large format, orchestral, and big band work, and then smaller hip hop and rock sessions. As the financial realities of life were catching up with me, I started looking beyond. Luckily I got hooked up with a commercial post house in Venice, California called Ravenswork. It was a small boutique, commercial mix post house. It was a very small tight knit company, that showed me that there was room in the post production world for something smaller, unique, and personable.

I knew that I wanted to find a balance between the lifestyle and vibe of music studios with the professionalism and stability of a post studio

I was lucky to get that opportunity and really enjoyed my time there. After I moved on from Ravenswork, I freelanced and worked at a few different places. I knew that I wanted to find a balance between the lifestyle and vibe of music studios with the professionalism and stability of a post studio. I think partially to my benefit and partially to my detriment, I wound up starting my own place early on, before I was able to learn the systems and workflows of one of the major studios. So I had to develop my own techniques and workflows, which seems to be the way a lot of people have to do it these days.
 

DS: Why did you decide to start your own business?

WM: I guess because I didn’t find another small boutique company that fit my pace right away. I don’t know why. [laughs] A couple of friends and I had been working some freelance gigs together. It was sort of an attempt to combine forces. That’s kind of where the name Gypsy Sound came from. We were a bunch of people that would band together for bigger projects, while simultaneously handling all of our own little things. We pooled our skills and resources to make Gypsy Sound.
 

DS: Can you talk a little about the early years of your business? Did it take you a little while to find your place in the world?

The biggest difficulty is that in order to do a mix properly, there’s no way around really having the room, the gear, and the space to do it.

WM: We had a couple of clients that gave us a bit of a launching pad. It was definitely difficult. I started out on a Mac Mini and an M Box. That obviously has it’s own challenges. By no means was it easy, but I think we got lucky, because we found a really good, loyal network early on. When we started, I was working on one of the first shorts of a director that I still work with today. A few of the people that came to us when we first got started, have been loyal throughout and have kept us fairly busy. The biggest difficulty is that in order to do a mix properly, there’s no way around really having the room, the gear, and the space to do it.
 



Chef's Table - Season 2 | Official Trailer [HD] | Netflix


Chef’s Table is one of the shows that Gypsy Sound has worked on

DS: At the time of inception and up to now, how has your business model differed from the larger post houses?

WM: It mainly differs in that we sort of operate both as freelance mixers and engineers as well as an independent post house, so there are other studios that we each work with. We don’t view other studios as competition so much as partners in trying to get a project done. I’ll four wall at another studio for some projects, or work with other designers or editors.

We don’t view other studios as competition so much as partners in trying to get a project done

It’s also different because we can be slightly more selective about our work. Maintaining a smaller business allows us to not necessarily have to take on every project that comes to us.
 

DS: Right, because you have a lower overhead.

WM: Yeah, there’s the lower overhead factor and then there’s the capacity factor. With 5 or 6 people, we’re maxed out on space here. If we have to, we can expand out to other editors working offsite, but at a certain point, you don’t want to sacrifice the time put into each project just to be able to say that you did more. So there’s definitely some projects that we are able to pass on and instead are able to do the ones that we’re excited to work on.
 


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


Trending right now:

  • 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
  • “European Birds 2” is a sound library containing many recordings of 56 different species of birds, with a focus on isolated recordings of individual birds. All sounds were recorded in England, and all recorded species can be found in continental Europe. Many recorded species can also be found in varying areas of Asia.

     

    Includes:

    • Pleasing sounds from songbirds such as Robins, Blackbirds, Finches and Wrens
    • Familiar sounds of Pigeons and Doves
    • A variety of water birds including Moorhens, Coots, and Geese
    • Raspy calls of Crows and other birds from the corvid family
    • Melodious birds of open farmland, such as Skylarks and Yellowhammers
    • Chaotic songs of summer migrant warblers
    • Forest birds such as a Tawny Owl, Cuckoo and Green Woodpecker
    • and more! (For a full list of species, see the contents summary)

     

    Features: 

    • 950+ audio files in 24 bit 96kHz quality
    • WAV format
    • “Multi” and “One Shot” files provided
    • UCS compliant file naming and metadata, allowing for easy searching in sound library management tools
    • Available for commercial or personal use without attribution

     

    View a summary of included sounds here

    View a full list of included files here

  • Destruction & Impact Sounds Cataclysm Play Track 1482 sounds included $195

    Cataclysm is a vast collection of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.

    The synthesized section of the library features equally rich textures in the form of explosion sweeteners, other-worldly environmental reflections, scorching energy risers and more.

    Finally, recorded and synthesized content was employed to develop the designed section, where the hyperrealism of the recordings meets the clean yet aggressive textures of the synthesized section in catastrophic assets themed around the library’s title.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Train Sound Effects Steam Trains Play Track 175 sounds included $40

    The Steam Trains library delivers 175 sound effects of three different types of steam train engines, and the clatter, rattle, and grinding of wagons.

    The collection includes riding, idling, pass-bys, departing and arriving trains, bells, whistles, steam blasts, platform atmospheres, and doors and windows.

    Engines are the heavy Santa Fe 2-10-2, the Bavarian BB 0-4-4-0 Heavy Mallet, and a 4 Wheel Switcher 0-4-0 light railway. Also included are door and window handling effects of passenger cars

    Each engine is well documented and listed in full Soundminer metadata.

    The Steam trains library also includes a “Specification Sheet” with detailed information about the trains and environments.

    Recorded with a Schoeps MK4/MK8 MS, paired with a Sound Devices 702 recorder. Some takes provide an alternative mix with recordings from an additional Sony PCM-D recorder.


Latest releases:

  • Animal Sound Effects The Animal Symphony – Watusi Play Track 183 sounds included, 10 mins total $12

    The Animal Symphony will be a series of animal recording libraries, created to offer a wide variety of authentic animal sounds. Over the next few months, each installment in this series will capture the essence of different animal species.

    General description:
    The Animal Symphony – Watusi” features a total of 52 audios, with 183 individual sounds of Watusis mooing, all recorded in exceptional quality. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, we have managed to capture every detail and nuance of these natural sounds. Each recording was made at a 192 kHz, 24-bit, ensuring professional clarity and depth.

    Featured Features:
    – Variety of Watusi Sounds: Enjoy a wide range of Watusi sounds, from soft moos to powerful calls, perfect for adding realism and authenticity to your projects.
    – Diversity in Recordings: With multiple takes and variations, with long, short and group moos, so this library offers the necessary flexibility for any type of production that requires this type of animal.
    – Careful Editing: All recordings have been carefully edited to eliminate any external noise, such as birds, wind or people, ensuring pure, clean sounds.

    This collection is ideal for a variety of applications:
    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: African environment and scenes that require authenticity in fauna.
    – 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 Audios: 52
    – Total Sounds: 183
    – Format: 192kHz/24bit
    – Equipment Used: Sennheiser MKH 8050 Microphone and EM258 Capsule Microphone

    License:
    The sounds from “The Animal Symphony – Watusi” are available under a royalty-free license, allowing their use in multiple projects without additional costs or royalties. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

    20 %
    OFF
    Ends 1717711199
  • This library covers the sounds of the Trabant 601, equipped with a two-cylinder, two-stroke Otto-type engine from the late 1980s.

    The driving section contains 48 tracks with a total length of about 36 minutes. These tracks include engine ramps and driving sequences at various constant RPMs, suitable for game implementation. Additionally, there are takes featuring more common driving and pass-bys, which are better suited for linear media usage. Interior and exterior mixes are also included.

    The foley section comprises 23 tracks with a total length of 8 minutes. It covers all basic sounds, such as opening and closing doors, hood and trunk, gearstick shifts, handbrake usage, and horn sounds. These sounds were primarily captured from a close perspective using a shotgun microphone.

    Microphone setup:

    • Sennheiser MKH8040 (ORTF) – Cabin
    • Neumann KMR81i – Cabin / Foley
    • Neumann KM184 – Exhaust
    • Shure SM11 – Engine bay
    • Shure VP88 (M/S) – Exterior
    • Tascam DR40 (XY) – Exterior
  • Sports Sound Effects Pool Play Track 351 sounds included $5.99

    This is a sound library containing the sounds of cue sports games such as pool or snooker. Includes a range of sounds such as ball interactions, potting, breaking, and more, with sounds from both a standard set of 2″ pool balls and a smaller set too.

     

    Features: 

    • 350+ audio files in 24 bit 96kHz quality WAV format
    • “Multi” and “One Shot” files provided for most sounds
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
    • Available for commercial or personal use without attribution

     

    View a summary of included sounds here

    View a full list of included files here

    33 %
    OFF
  • 30 Alicante sound effects recordings of urban street life from a southern Spanish city.

  • Soar across the skies with Boeing 737 jet airliner interior clips from idling, taxiing, flying, landing, and others.

Need specific sound effects? Try a search below:


DS: What did you want to try differently from the traditional business model?

WM: It’s not my favorite word, but the idea of being a boutique and approaching a project as a partner or team member. It’s a lot easier to feel like a team with the production and the director when it’s a smaller crew. The angle that I lean into with this place, is that you know everybody working on the project; we all work on it with the director and producers as a complete team. I think that builds a stronger relationship.
 

DS: Can you tell us about your workflow?

WM: Typically there’s a core team of 4 or 5 of us here. Then depending on the schedule there are several other editors or and designers that we sub out to. Nikola Simikic or I supervise projects that come in, and walk it through the process from creative through delivery. Our ability to expand and contract allows us to create a different workflow for each project.
 

DS: What are some of the shows that you’ve worked on?

WM: You’re the Worst for FX was a really fun one that just ended. Chef’s Table and Street Food Asia are currently on Netflix. I’ve done a lot of docuseries including not only the two I just mentioned, but also 7 Days Out, and Larry Charles’ Dangerous World of Comedy. I also worked on Stan Against Evil on IFC and lots of cool Indie films.
 

DS: Do you have a favorite show or a biggest show that you worked on?

WM: Chef’s Table is probably the one that I get recognized for the most. We worked on You’re the Worst for 5 seasons. All of us really enjoyed working on it a lot; it was really special to us. The biggest feature that I worked on was Kong, but that was through Skywalker Sound, not Gypsy Sound. We get such a good balance of different things, it’s kind of hard to pick a favorite. Kings of Summer is a feature that holds a special place in my heart, because I was getting the facility and building out my rig. Band of Robbers was another movie that we had fun with, A Thousand Junkies was also a lot of fun… It’s really tough to pick just one favorite! Each project holds a little special place in our hearts.
 



Kong: Skull Island Official Comic-Con Trailer (2017) - Tom Hiddleston Movie


Through Skywalker Sound, William McGuigan worked on Kong: Skull Island

DS: How big is the typical crew size on one of your shows?

WM: We’re typical a crew of 4. I’ve had it expand to anywhere between 7 and 9 people. That’s usually when we have several different projects at the same time. On a single project, I think the largest we’ve gone is 5 or 6 people.
 

DS: Can you talk about building relationships with clients?

WM: I think it goes back to not being too big of a place. I think one thing that our clients appreciate is coming in and knowing everyone in the facility. I think that gives us a lot of returning client value. The majority of my clients have become my friends. We’re all part of a similar network of people, so it seems like most of my clients know each other as well.
 

[tweet_box]William McGuigan from Gypsy Sound talks about starting his own post house[/tweet_box]
DS: How did you get plugged into that network?

WM: Its all word of mouth and via relationships with other Editors, Composers, Producers, or Directors. As I do a project for one person they might recommend me to somebody else they work with. As each of those clients grow, so does their network etc.
 

DS: What was the hardest thing about starting a business?

The biggest thing right now that independent houses are dealing with is upgrading their security. Especially if you want to work on bigger budget projects, you really need to have network security down.

WM: The hardest thing I think, was finagling lower budgets, hustling favors, and just trying to make things work in the early stages. Having the confidence to do it really. It’s tough to start your own thing, when you barely know what you’re doing. Trying to learn how to do the whole business thing, while, at the same time, mastering a craft – that’s pretty tough. You’re learning a lot of it by yourself, through trial and error. Making big leaps like investing in a facility or gear, having the confidence that you’re going to have the work to keep everything going. Taking that risk is pretty tough. The biggest thing right now that independent houses are dealing with is upgrading their security. Especially if you want to work on bigger budget projects, you really need to have network security down. That’s a whole other investment. It’s one thing to learn the gear and tech for the craft. It’s another thing to also have to learn the gear and tech for the networking and security authorization that a lot of clients are starting to expect.
 

DS: Yeah, it’s like you need to bring in an IT guy to do it or learn it all yourself.

WM: Right, I wish it was one or the other. But even if you bring in an IT guy, you should know the basics of what’s going on.
 

DS: Is there anything else that you would like to add?

WM: The idea is to not view anyone as competition as much as resources to learn with and grow with. There’s enough work to go around.
 

A big thanks to William McGuigan for sharing some of his experience with us and giving us all a little bit of advice on getting a post house up and running – and to Doug Siebum for the interview! You can learn more about Gypsy Sound here , find William McGuigan on IMDb here , and follow him on Twitter here

 

Please share this:


 


 


Power Lists - essential audio resources and insights:

• The Sound Design Power List

• The Game Audio Power List

• The Film Sound Power List

 
  Succeed in sound:

• How to Set (and Get) the Right Price for Your Audio Work

• 10 Essential Tips for Game Audio Freelancers

• How to be a successful sound designer – with Scott Gershin

• How To Actually Live as an Audio Freelancer – by Melissa Pons

• How to set your sonic creativity free & overcome creative inhibitions – by Mark Kilborn

• 5 Useful Tips for Upcoming Sound Designers and Sound Editors

• Sound Opinions: How to get game audio pricing right

• Building a successful audio post studio – with Kate Finan and Jeff Shiffman

• Rebuilding your studio: Goals, tips and lessons learned

• Creating audio for games – with Martin Stig Andersen

• A life in sound: How to foster creativity and protect yourself from burning out – with Chance Thomas

• Better audio work habits: How a Wacom Tablet can help reduce the risk of Repetitive Strain Injury (RSI)

• Better audio work habits: How a sit & standing desk can reduce your sedentary studio life

• Tips and thoughts on running your own audio post production house – with William McGuigan

• 30+ year audio veteran Andy Greenberg, on building client relationships in the advertising industry

• 7 Sound Alternatives to Working For Free

• Audio Outsourcing Success: Essential Tips, Thoughts and Working Practices from Adele Cutting

 
 
The sound success series:

• How to succeed in UI/UX Sound Design, ADR Recording, & Audio Programming

• How to succeed in sound design for Film, Documentaries, and Trailers

• How to succeed in sound design for Games, Animation, and Television

How to succeed in Field Recording, Foley, and Teaching Sound

• How to succeed in Audio Branding, Music Editing, and sound for VR

• How to succeed in Theater Sound Design, Podcast Sound Design, and Podcast Production

• How to succeed in Sound Editing, Sound for Advertising, and Production Sound

• How to succeed in Sound Editing, Sound for Advertising, and Production Sound

• The Composer Success Series: Composing for Film – ft. Pinar Toprak, Nainita Desai, & Jonathan Snipes

• The Composer Success Series: Composing for TV – ft. Charlie Clouser, Sherri Chung, & Cindy O’Connor

• The Composer Success Series: Composing for Theatre – ft. Elyssa Samsel, Kate Anderson, and Daniel Kluger

• The Composer Success Series: Composing for Games – ft. Inon Zur

 
Breaking into audio – guides and resources:

• The ‘Quit Aspiring’ book – by Adam Croft

• How to get hired in game audio – thoughts and insights from your potential employer’s perspective

• Why gear is not the ticket to entry in the game audio community

• 4 Effective Ways to Break into Game Audio

• Tips for Creating a Perfect Resume for Audio Industry Jobs

• Yet Another Game Audio Hiring Article – by Ariel Gross

• 5 Tips for Getting a Job in the Audio Industry

• Applying for a job in game audio – by Matthew Florianz

• Freelance Game Audio: Getting Started and finding work – by Ashton Morris

• How to get started (and make it) in game audio – 10+ fundamental questions answered by Akash Thakkar

• Courses: How to network and get paid for your work in the game industry – by Akash Thakkar

• How to Craft a Perfect Cover Letter for Audio Industry Jobs
 
 
Finding those audio jobs:

• Get the weekly Audio Jobs newsletter

• Join the Audio Jobs Facebook group
 
 
Showcasing your work:
 
• Get a free profile on Soundlister

• Upload your demos to Soundcloud

• Upload your demos to ReelCrafter
 
 
Networking:
 
• Find game audio community groups around the world

• Find interesting audio events around the world

• Find other audio pros around the world
 
 
Coping with a layoff - and how to bounce back:

• How to prepare for – and power through – a layoff in the game audio industry, with Brian Schmidt:

• How to Survive a Game Audio Layoff – insights from Damian Kastbauer

• What it’s like to be laid off from your video game studio

• What To Do Before and After Being Laid Off

• Facebook Group: Survival Skills for Creatives
 
 
Education and knowledge:
 
• Get an audio mentor at the Audio Mentoring Project

• How To Learn Game Audio Online – A talk with Game Audio Educator Leonard Paul

• Hear the very best podcasts about sound

• Read the 100s of sound stories and guides on the A Sound Effect blog (search for stories here)

• Browse Industry Data: Game Music and Sound Design Salary Survey Results

• Browse 100+ Sound Design Guides

• Find essential books about sound – for film, games and audio post production

• Get tips and ideas for making your own sound effects

• Use the Audio Events Calendar to find audio-related events around the globe

• Get a steady stream of great sound stories from the community

• Discover 1000s of sound libraries from the independent sound community

• Take online courses in Wwise, FMOD Studio, Unity, Pure Data & Unreal at the School of Video Game Audio
 
 
Getting into independent sound effects:
 
• DIY SFX libraries - Your guide to your first sound effects library

• Sound effects survey results: Here are 90+ ideas for new SFX libraries

• How to create an indie sound bundle

• The quick-start guide to adding sound FX library metadata


 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Dinosaurs Vol. 2 is the second edition of our popular Dinosaurs sound effects series.

    This library contains a wealth of pre-historic sound effects, covering a range of different dinosaur types. Inside we have carnivores, herbivores, scavengers, flyers and even baby dinosaurs, allowing you to craft your own custom Jurassic soundscape.

    To create this collection, our audio craftsmen unleashed their inner Dinosaur, recording a diverse array of sounds that includes roars, growls, sniffs, breathing, eating, and eggs hatching.

    This library is perfect for use in monster movie projects such as Godzilla, King Kong, Jurassic Park, and is also well suited to covering video game creatures and enemies.

    All files are supplied in 24Bit 96kHz allowing for further sonic manipulation and have been tagged with extensive UCS compliant metadata for ease of use.

    20 %
    OFF
  • Creature Sound Effects Dinosaurs Play Track 32 sounds included $16.80

    Witness the terrible and wondrous sounds of the long gone rulers of Earth, with our new library, Dinosaurs, containing audio brought back from 65 million years in the past.

    Our Audio Craftsmen have captured the roars, rumbles and groans of a variety of Dinosaurs, from Triceratops to the King himself, T-Rex!

    All sounds were recorded in our acoustically treated Foley suite in 24Bit 96kHz allowing further sonic manipulation. We then meticulously edited and tagged the files with extensive UCS compliant metadata for ease of use.

    20 %
    OFF
  • Vielklang Instant Harmony 2 is an instrument for easy generation of harmonies from an audio or MIDI melody. The utilization of voice leading and harmony progression models allows vielklang to create harmony parts in a more musical way than traditional harmony processors and makes it a versatile and creative tool for musicians, songwriters and producers.

    vielklang utilizes zplane´s widely-used élastique SOLOIST engine for high quality pitch shifting and time stretching.


    The new version introduces the following features:

    • advanced pitch editing with direct tool access
    • new sleek interface
    • vibrato and tremolo generator
    • hybrid view for score-like harmony visualization
    • MIDI harmonization
    • multiple file harmonization
    • Instant Harmony V2.0 & Advanced Pitch Editing
    • Harmonize your melody with one single click – loading a single-voiced audio file – and create natural-sounding background choirs and brass arrangements.


    vielklang Instant Harmony generates harmonies with 2-4 voices. It is packed with musical intelligence and music theory: it detects the best fitting harmonies for each individual input melody, and automatically synthesizes up to four voices with the voices not merely running in parallel but with their voicings selected to sound most natural (voice leading).

    The advanced pitch editing controls (full version only!) give you fast and easy access to pitch, timing, vibrato control, formant shift, and to many more editing options.

    DOWNLOAD THE DEMO HERE
    WIN | MAC

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Animal Sound Effects The Animal Symphony – Watusi Play Track 183 sounds included, 10 mins total $12

    The Animal Symphony will be a series of animal recording libraries, created to offer a wide variety of authentic animal sounds. Over the next few months, each installment in this series will capture the essence of different animal species.

    General description:
    The Animal Symphony – Watusi” features a total of 52 audios, with 183 individual sounds of Watusis mooing, all recorded in exceptional quality. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, we have managed to capture every detail and nuance of these natural sounds. Each recording was made at a 192 kHz, 24-bit, ensuring professional clarity and depth.

    Featured Features:
    – Variety of Watusi Sounds: Enjoy a wide range of Watusi sounds, from soft moos to powerful calls, perfect for adding realism and authenticity to your projects.
    – Diversity in Recordings: With multiple takes and variations, with long, short and group moos, so this library offers the necessary flexibility for any type of production that requires this type of animal.
    – Careful Editing: All recordings have been carefully edited to eliminate any external noise, such as birds, wind or people, ensuring pure, clean sounds.

    This collection is ideal for a variety of applications:
    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: African environment and scenes that require authenticity in fauna.
    – 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 Audios: 52
    – Total Sounds: 183
    – Format: 192kHz/24bit
    – Equipment Used: Sennheiser MKH 8050 Microphone and EM258 Capsule Microphone

    License:
    The sounds from “The Animal Symphony – Watusi” are available under a royalty-free license, allowing their use in multiple projects without additional costs or royalties. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

    20 %
    OFF
    Ends 1717711199
  • This library covers the sounds of the Trabant 601, equipped with a two-cylinder, two-stroke Otto-type engine from the late 1980s.

    The driving section contains 48 tracks with a total length of about 36 minutes. These tracks include engine ramps and driving sequences at various constant RPMs, suitable for game implementation. Additionally, there are takes featuring more common driving and pass-bys, which are better suited for linear media usage. Interior and exterior mixes are also included.

    The foley section comprises 23 tracks with a total length of 8 minutes. It covers all basic sounds, such as opening and closing doors, hood and trunk, gearstick shifts, handbrake usage, and horn sounds. These sounds were primarily captured from a close perspective using a shotgun microphone.

    Microphone setup:

    • Sennheiser MKH8040 (ORTF) – Cabin
    • Neumann KMR81i – Cabin / Foley
    • Neumann KM184 – Exhaust
    • Shure SM11 – Engine bay
    • Shure VP88 (M/S) – Exterior
    • Tascam DR40 (XY) – Exterior
  • Sports Sound Effects Pool Play Track 351 sounds included $5.99

    This is a sound library containing the sounds of cue sports games such as pool or snooker. Includes a range of sounds such as ball interactions, potting, breaking, and more, with sounds from both a standard set of 2″ pool balls and a smaller set too.

     

    Features: 

    • 350+ audio files in 24 bit 96kHz quality WAV format
    • “Multi” and “One Shot” files provided for most sounds
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
    • Available for commercial or personal use without attribution

     

    View a summary of included sounds here

    View a full list of included files here

    33 %
    OFF
  • 30 Alicante sound effects recordings of urban street life from a southern Spanish city.

  • Soar across the skies with Boeing 737 jet airliner interior clips from idling, taxiing, flying, landing, and others.


   

Leave a Reply

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

HTML tags are not allowed.