Call Of Duty Modern Warfare sound Asbjoern Andersen


The Game Awards just named the cross-platform FPS Call of Duty: Modern Warfare as having the Best Audio Design - congratulations to the Infinity Ward sound team! In this in-depth A Sound Effect interview, those award-winning team members talk about their approach to designing a sound experience that’s as immersive as the game’s realistic visuals.
Interview by Jennifer Walden, photos courtesy of Activision
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Official Reveal Trailer | Call of Duty: Modern Warfare


The reveal trailer for Call of Duty: Modern Warfare

Call of Duty: Modern Warfare uses a brand-new game engine that allows for more detailed environments, more accurate lighting, more photo-realistic images, and precise object tracing — all contributing to a higher degree of visual realism. On the sound side, this led Infinity Ward’s sound team to push boundaries as well, giving the player a more reactive environment that responds in realistic and varied ways.

So far, the efforts are paying off. Call of Duty: Modern Warfare just won ‘Best Audio Design’ at The Game Awards, won best ‘Original Score – Video Game’ at the Hollywood Music in Media Awards, and was named ‘Best Online Multiplayer’ at the Game Critic Awards. Plus, it’s earned five other nominations so far for best action game.

Here, Infinity Ward’s audio director Stephen Miller, principal sound designer Stuart Provine, senior lead technical sound designer Tim Stasica, senior lead audio designer Dave Rowe, lead dialogue recordist and editor Dave Natale, and supervising dialogue editor Chrissy Arya discuss their approach to weapons recording and implementation, designing non-combat missions, Foley, dialogue, and how they used these elements to create a visceral and immersive narrative experience that’s more than just an FPS.
 
Call Of Duty Modern Warfare game sounds

Stephen, you’ve worked on all five Modern Warfare releases, correct? What did you want to do differently for this latest release? What did you want to carry forward from other games in this series?

Stephen Miller (SM): All except for Modern Warfare Remastered.

I joined Infinity Ward as a sound designer at the beginning of Call of Duty 4: Modern Warfare’s production in 2006. Going back to the Modern Warfare franchise was incredibly exciting. It also raised the question of how do we outdo ourselves, while remaining true to our love for the original series? This new epic told a story with a raw, gritty feel. We brought that to our sound design as well, stepping away from the classic cinematic-style for a more modern approach. We were certainly able to lean hard on new technology, given that a lot has changed since 2007 when the first Modern Warfare released. This new realism and grit is something we plan to carry forward into the future of this series.
 

The weapons are a main focus in an FPS. Can you tell me about your approach to the guns in this game?
Stuart Provine (SP): The goals were, first and foremost, do whatever could be done to differentiate the guns and turn them into unique “characters.”

Second, don’t overly diverge from people’s historical expectations (audiences have seen and heard these weapons depicted in hundreds of previous films and games).

And third, make every effort to simultaneously raise the bar in terms of realism. Of course, this must be accomplished within the confines of game memory and audio technical features supported by the game engine.

How many/what types of weapons did you record?
SP: We probably recorded sounds for about fifty weapons including pistols, select-fire assault rifles, submachine guns, bolt-action sniper rifles, grenade launchers, and more. We recorded those same weapons again with suppressors attached whenever possible. It was a lot of work, but we had the help of some amazing recordists and expert armorers.
 
Where did you do the gun recordings? What did your mic setups look like for the record sessions? What elements of each weapon did you want to capture to use in your designs later?
SP: Our biggest live-fire recording session took place in Arizona, but we also recorded various things in other spots both locally and across the country. John Paul Fasal, Charles Maynes, Bryan Watkins and Mitch Osias from Warner Brothers, and a bunch of the IW audio team all pitched in for the primary shoot in Arizona.

From the beginning, I wanted our weapon recording trips to be open to different recording approaches and styles. There were things we needed, but how to “get there” wasn’t something I wanted to dictate.

Two recording trips were dedicated solely to getting sound reflections, one of which we did at a very unique location in Florida with Watson Wu. Additionally, I would go out on solo trips with some really tolerant (and patient!) friends to record “character bits” — sounds that needed a little extra spice and perhaps more experimentation with environments and mic placement than we had time for during the larger sessions. Some of those outings produced great results that are featured prominently in the game.

From the beginning, I wanted our weapon recording trips to be open to different recording approaches and styles. There were things we needed, but how to “get there” wasn’t something I wanted to dictate. I’ve known Charles, Bryan, and John for many years because I used to work with those guys occasionally in the film industry. Charles and I have been great friends for fifteen years or so now. He’s one-of-a-kind, amazingly talented, and a truly wonderful human being. Each of these gentlemen have a unique and proven style that has been defining what weapons are “supposed” to sound like for decades. I wanted them to “imprint” their instincts into the recordings. Unless you’ve somehow managed to avoid listening to movies, games, and television for the last thirty-plus years you’ve already heard their excellent work. They are role models and teachers, and my respect and appreciation for them is beyond my ability to express with words.
Call Of Duty Modern Warfare sound designer

In terms of the end results of all this recording, I wanted to have the broadest palette possible from which to draw ideas because each gun needed a unique sound signature — some “personality trait” that would set it apart from the rest. The reality is that dry and literal recordings of guns can sound very similar to one another. This compounds when you have many guns firing the same caliber ammunition. Since there are largely standardized ammunition specifications for rifles and pistol calibers, and many of the most prolific military-issued weapons fire this limited range of ammo, avoiding “sameness” becomes a distinct challenge. Additionally, there is no way to realistically capture and reproduce the sound pressure levels and concussive force of a firearm going off. It’s an experience that’s felt as much as it is heard, especially for the person firing the weapon. Even if you could reproduce it realistically, people would hate it. Imagine 160 dB transient bangs coming from your TV! The audience for true realism would be, to put it mildly… limited.

The reality is that dry and literal recordings of guns can sound very similar to one another. This compounds when you have many guns firing the same caliber ammunition.

As for microphones and gear, it was highly variable. Everybody used what they were comfortable with, but we also did experiment with a lot of stuff. We have a nice complement of recorders and microphones at IW, and I used a fair amount of personally-owned equipment too.
 

Did you also capture IRs for each space you shot/recorded in? How did you use these IRs when creating the guns in-game? (Was the reverb pre-processed onto each shot? Or is the reverb real-time audio processing?)
SM: We don’t support IR’s in our audio engine at the moment. We do have multiple in-game reverbs running, but convolution reverbs cost more CPU cycles than we could afford to spend with current generation hardware. The COD franchise demands fast and fluid gameplay, and any feature that compromises this would represent a step backward. Hopefully in the future we can do something like this.



'Call of Duty: Modern Warfare' — Behind The Scenes at Infinity Ward Studios | Heat Vision


A behind-the-scenes look at the making of Call of Duty: Modern Warfare by The Hollywood Reporter

What were your biggest challenges when designing the guns? Creatively? Technically?
SP: From a creative standpoint, my biggest challenge was making each of the guns feel powerful and rewarding to use yet sound as realistic as possible. Call of Duty players don’t like it when the guns feel weak! It helps that I’m knowledgeable about firearms, having been around them my whole life. Each weapon required a new approach. There wasn’t any magic plug-in or standard effects chain. No particular microphone, preamp, recorder, or anything else that could be relied on to deliver consistently successful results. Perhaps there was an easier way besides reinventing the wheel for each gun, but I wasn’t able to find it. It was a long process, and I needed to become comfortable with failure. I’ve been accused of being my own harshest critic, but at the same time I had a clear idea of how I wanted things to sound. Hopefully people enjoy it!
Call Of Duty Modern Warfare game audio

From a creative standpoint, my biggest challenge was making each of the guns feel powerful and rewarding to use yet sound as realistic as possible.

With the rock-solid support of our Audio Director, Stephen Miller, I also lobbied for realistic gun features that have never been in a Call of Duty game before. Things such as trigger reset / disconnector sounds, open-bolt mechanics for appropriate machine guns, hammer / striker effects that play separately from the rest of the weapon, pistol slides and bolt carriers locking back on the last round, and more. Our Lead Technical Sound Designer Tim Stasica and I collaborated closely on a lot of the features. He’s simply incredible at what he does. Tim and I would talk about a problem, and he would find a way to create a solution. Sometimes what I was asking for would be pretty abstract, and he would either fix it himself or translate my request into something the code team could work with. Former Infinity Ward Audio Director Mark Ganus also helped with some of the gun assets, and on top of being a great guy, he was an important part of creating Modern Warfare’s soundscape. Without the other members of the IW audio team believing in taking it to the next level and having the skills and talent to make it happen, we wouldn’t have the same game. We still have a list of weapon-related things that we’re hoping to add, so it’ll get even better.


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    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

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  • The whole 9 yards.
    Comprised of seven heavy hitting libraries, this bundle includes INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all SEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN:
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI Fi:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    Interactive:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


Need specific sound effects? Try a search below:


What was your approach to implementing the gun sounds into the game? What are the elements that went into each shot?

There are the typical elements of the main transient attack, mechanical sounds, tails, and LFE, but we also change assets based on a number of gameplay situations, such as your current environment, stance, how long you’ve been firing the weapon.

Tim Stasica (TS): Our goal was for every gun shot to be unique to the current gameplay situation. There are the typical elements of the main transient attack, mechanical sounds, tails, and LFE, but we also change assets based on a number of gameplay situations, such as your current environment, stance, how long you’ve been firing the weapon. There are about 25 different sets of elements per weapon before we even get into attachments or caliber conversions. When players use Gunsmith to add under-barrels or silencers, a weapon platform can have hundreds of permutations heard in game.

In addition to the sounds coming from the weapon itself, we wanted to capture how much energy is thrown downrange, echoing around an environment. (I’ll talk about this more later in the interview)
Call Of Duty Modern Warfare sound effects

Each time you fire a weapon the sound is going to be different. There are almost an infinite number of possible combinations of the different layers, so in the end the guns sound more realistic than they have ever been in the history of our franchise.

What was your method for adding variation into the weapon sounds?
SP: Each time you fire a weapon the sound is going to be different. There are almost an infinite number of possible combinations of the different layers, so in the end the guns sound more realistic than they have ever been in the history of our franchise. Reflections of gunfire play realistically depending on the distance to buildings and objects, whether you’re inside a space or outdoors, and are different for different guns.
More powerful weapons have more prominent reflections and are different again for when that same weapon is fired suppressed. Between all the various gun-related sounds in the game, there are many thousands of sounds involved. I don’t even know how many at this point. It was a ton of work!
 

Tell me about your approach to the non-combat mission, guiding a civilian through a terrorist-overrun embassy. What was your approach to sound for this mission? What were your challenges in terms of sound here?
Dave Rowe (DR): One of the important aspects of the game is this sense of civilians being intertwined with wartime conflicts and we wanted to make sure their story was told. We recorded a loop group for the various civilians and enemies you encounter in missions like “The Embassy,” “Piccadilly,” and “Hometown.” We wanted to make sure the player felt like they were responsible for the innocent civilians, and the addition of voice talent helped that emotional connection. In “The Embassy” mission there is a part where you are guiding a civilian while in contact with her on her cell phone. We recorded cell phone handling and cloth movements on an actual cell phone and processed it the same as the voice. This keeps the player emotionally connected to her on-screen and to her panicked desire to escape.

Some of the challenges for “The Embassy” included getting enough iteration time for such a lengthy mission and achieving the real-time effects of sounds on the other side of bulletproof glass. My favorite sound effect assets in the mission are the initial helicopter missile impact and the player mortar ready and fire.
Call Of Duty Modern Warfare game audio

We wanted to make sure the player felt like they were responsible for the innocent civilians, and the addition of voice talent helped that emotional connection.

What was the most challenging mission in terms of sound? What were your challenges?
DR: The most challenging mission was “Clean House.” We decided to take traditional Call of Duty aggressiveness and loudness and strip away sound until we got this awesome player suspense. This also meant being very selective and controlled with the sound that remained. Each event would be absolutely necessary for gameplay or story purposes, so we had to make sure they were of the highest quality and were contextualized properly for the player.
 

What was your approach to Foley on Modern Warfare? What did the Foley team cover? How did those sounds fit into the game?
Chris Egert (CE): We spent 32 days at the Sony Foley stage with walker Gary Hecker for this project. We focused on capturing great performances to picture as you would with film. The amount of dynamic range in this game is insane — more than we have ever had in any Call of Duty title, and the Foley is a major cornerstone of many big scenes. In the level “Hometown,” the player awakens under a pile of rubble after their village has been bombed.

The Foley in this intro scene … is so much more than mere background noise; it is the entire focal point and the emotional element used to ground the player in the scene.

As they slowly come to terms with what has transpired, they must claw their way through the debris and very primitively bang on a piece of metal with a rock to alert a nearby rescue team to their location. The Foley in this intro scene is intimate and in your face; we hear the tiniest speck of dust, followed by giant rocks crumbling, footsteps desperately searching, hands digging, and then the jarring sound of a concrete saw cutting rebar to free the player. The Foley here is so much more than mere background noise; it is the entire focal point and the emotional element used to ground the player in the scene. Moments later, as you are pulled from the debris, an explosion rocks the village and chaos ensues. As the scene unfolds, the character and environment Foley are the human elements that glue all the action together, and keep the player immersed in the cinematic experience.
 

What was your approach to dialogue on Modern Warfare? What did the dialogue team cover? How did those sounds fit into the game?
Dave Natale and Chrissy Arya: We have 40,000+ unique lines of dialogue in Modern Warfare per language, with a total of 11 recorded languages.

We tried a more natural approach to our capturing process by using microphones specifically selected to create the feel and tone of each element. This relates across the entire game based on whether or not it was cinematic, in-game, radio or other unique environments. Recording the dialogue in this natural approach created a sound that is impossible to replicate even with the best plug-ins and IR convolutions. By giving the actors the same physical environment or elements that they are using in-game to communicate with the rest of the other actors it helps to elevate their performance and make it more believable.

Recording the dialogue in this natural approach created a sound that is impossible to replicate even with the best plug-ins and IR convolutions.

For example, we created a custom 3D printed microphone mount for use on all of our gas mask recordings. In essence, our microphones became props for the performance. In certain cases when we captured the actor’s pre-life and the space between words, it often told as much story as the words themselves.
Call Of Duty Modern Warfare sound design

 

The guns aren’t the only things reacting to the spaces the player is in; the voices and Foley sounds interact with the environment, too. How did you keep the mix sounding clean with all this processing happening?
DR: We always try to keep the player focused towards their next objective without punishing player control of the scene — lead them to where they naturally should go but maintain immersion when they veer off and do their own thing. To do this, we create a lot of audio systems that support different real-time mixing decisions. These become pillars of the mix, and we start by mixing around them.

Another important element is keeping a wide dynamic range. Any mission-critical dialogue and some large set pieces get real-time special treatment. More importantly, not everything is meant to pop through, so you end up with a soundscape that creates diversity, depth perception, and variation to pull the player through the experience.
 

Modern Warfare uses a new game engine, allowing for more detailed environments, and advanced photogrammetry (for efficiently creating intricate textures). What did this new engine mean for the sound team? What advanced capabilities did it afford you? With clearer, more detailed images, how did that impact the work required from the sound team?
(TS): The hyper real visuals in our new engine led to us push boundaries towards realism in several areas. Since weapons in the game are now actual projectiles instead of hitscan technology, it afforded us the ability to play more realistic whiz-bys, correctly timed with a projectile’s approach, which cut off at the point of impact. The whole game has a concept of the actual speed of sound — sounds at distances have the correct real-world delay on them. This is something we’ve wanted to do in the past but it felt like a bug without the entire game being grounded in reality.

Since weapons in the game are now actual projectiles instead of hitscan technology, it afforded us the ability to play more realistic whiz-bys, correctly timed with a projectile’s approach, which cut off at the point of impact.

With every gunshot or explosion, ray-casts are drawn to find collisions with geometry where positional sound reflections are played in 3D space. These, too, playback with delays according to the speed of sound. The dimensions of your location and the way you hear sound in them brings every environment in the game to life.
 

What are you most proud of in terms of sound on Call of Duty: Modern Warfare?
SM: The sound design in Modern Warfare helps to draw the player into the reality of the game world. Instead of just being background noise in a bombastic action movie, it sets the stage for a visceral experience — creeping through the rickety hallways of a townhouse, crawling through the dirt and grime of a prison cell, and listening for enemy movements in a mansion. The overall dynamic range supplements this experience, creating a more realistic soundscape that leaves room for a natural eb and flow. From the ambient elements, the realistic echo of your weapon in the distance out a window, to the cohesive sound aesthetics blurring the line between in-game and cinematics, the audio in this game surpassed my own expectations. I’m honored to have been given an opportunity to work with a lot of incredibly smart and talented people. Not just in sound, but all the other aspects as well. It takes a village to complete a game like this, and I’m both grateful and proud to have been a part of it.

A big thanks to Stephen Miller, Stuart Provine, Tim Stasica, Dave Rowe, Dave Natale, and Chrissy Arya for the story behind the sound for Call of Duty: Modern Warfare – 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:

  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Stefan Kovatchev – Audio Director (MultiVersus)
    “Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”

    Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
    “Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

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  • Footstep & Foley Sounds contains 511 high quality professionally recorded footstep sounds. Surfaces included: concrete, dirt, grass, gravel, metal, mud, water, wood, ice and snow. Plus 141 Foley sounds covering a variety of character movement sounds. A perfect addition to add realism to your footstep sounds.

    This pack also includes a variety of 160 bonus sounds effects from our full library Pro Sound Collection. ALL sounds from Footstep & Foley Sounds are included in Pro Sound Collection so if you need more sounds be sure to check it out before purchase.

  • Environments & Ambiences Wind Textures III Play Track 54+ sounds included, 250 mins total $45

    Wind Textures III highlights a new palette of wide sounding wind effects recorded over two years, from high mountain ridges to marshes and grasslands.

    • Featuring the levante, also known as the famous easterly wind that blows in the western Mediterranean Sea, which is a dominant feature in the province of Cadiz, Spain.
    • This set of recordings includes winds blasting marshes and several types of vegetation, as well as recordings from a car interior.
    • Blustery winds in montane grasslands and high mountain ridges from the Guadarrama Mountains in Central Spain.
    • In the heights of this nature reserve are prairies in which high mountain shrubs dominate the terrain. This includes several types of leaves rustling.
    • Unless it’s specified in the filename, all recordings are bird and insect free.
    • Intensity varies from calm breezes to gusts of up to 80 km/h.
    • Wind blasting a motorbike captured from inside a helmet with no engine noise at all. The visor was in three different positions (open, half way open and closed) in order to get a wider variety of sounds.
    • These sounds can be used for any type of object, animal or vehicle in motion where wind plays an important role in terms of storytelling.
    • Gear used: Sound Devices MixPre 6-II, Sennheiser 8040 in ORTF, Sennheiser 8050 with MKH 30 in M/S, Sony D100, LOM Usis.
    • UCS Compatible Metadata embedded. Fields included CatID, Category, Subcategory, FX Name, Filename, Description, BWDescription, Library, RecType, RecMedium, Microphone, Designer, Manufacturer, Keywords, VendorCategory.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments & Ambiences Future Dystopia Play Track 626 sounds included, 142 mins total $44.95

    The sounds of a dark tomorrow… are here!

    Orbital Emitter is proud to present our first World Building Sound-Set, FUTURE DYSTOPIA!
    Future Dystopia is a meticulously crafted collection of audio atmospheres and sonic elements that can be used in any film, tv or streaming show, music production, game development, YouTube content creation and more!
    Future Dystopia embodies the dark yet intense world of cyberpunk sci-fi by providing everything you need to create vibrant environments, detailed locales and dynamic scenes.
    But the best thing about this sound-set is that you can create these rich and imaginative scifi soundscapes in a fraction of the time it takes using traditional methods!
    Our curated atmospheres and elements can be combined, dissected, and quickly customized so that you can achieve great results to rival any Hollywood production! And the diversity of our sounds means you can build audio scenes for urban districts, space stations, industrial sites, abandoned locales, power stations, vehicles and more, FAST!
    Simply drop a few of our audio files into any NLE or DAW and hear how quickly your scenes will come to life! And with our sound-sets, all of our sounds are organized, clearly titled and contains metadata for each audio file.

    Future Dystopia – our World Building Sound-Set is made up of 626 sounds across 151 WAV audio files. There are 54 atmospheres, 67 Elements, 7 foundation sounds, 12 speech sets and 11 vehicle builds… Our sound-files are 24bit/96k stereo (that can be folded to mono if desired.)
    Every sound in Future Dystopia is 100% original and created to help transport your audience to another world!
    Order now and receive our 19 page e-guide that explains how to get the most out of this sound-set absolutely FREE.

    SPECIAL NOTE: To celebrate the release of this brand new sound-set, we are offering a 25% OFF for a limited time!
    We hope you enjoy Future Dystopia our first world building sound-set!

     

    Quick note about the download:

    Please note that the Future Dystopia Sound-Set is 5.4GB when uncompressed. To make delivery more streamlined, we have compressed this file to the “.zip” format.
    Because Windows users might have issues opening a “.zip” file over 4GB, we have included a “.rar” version of the file so Windows users can avoid any issues.

    TLDR: If you are on a Mac computer, just open the “.zip” file and for Windows users, open the “.rar” file.

     

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  • Animal Sound Effects The Animal Symphony – Donkey Play Track 69+ sounds included, 10 mins total $10

    THE ANIMAL SYMPHONY – GOAT & SHEEP
    THE ANIMAL SYMPHONY – CROWING ROOSTER
    THE ANIMAL SYMPHONY – LOVEBIRD
    THE ANIMAL SYMPHONY – WHITE HANDED GIBBON
    THE ANIMAL SYMPHONY – MEERKAT
    THE ANIMAL SYMPHONY – WATUSI

    Product description:

    “The Animal Symphony – Donkey” offers a collection of 69 high-quality audio tracks, each with multiple sounds (between 3 and 6 variations). The audios are organized with an intuitive nomenclature, allowing you to easily swap the different microphone jacks, so you can choose which microphone to use or combine them all. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, along with a Zoom H6 recorder for stereo sound, we have captured every detail and nuance of these sounds. Recordings were made at 24-bit and 192kHz/96kHz, ensuring professional clarity and depth.

    This collection offers a wide variety of braying, growling, donkeys eating, etc… these sounds are perfect for adding realism and authenticity to your projects. With multiple takes and variations, this library provides the flexibility needed for any type of production requiring sounds from these animals. All recordings have been carefully edited to eliminate external noises, such as birds, wind or people. Furthermore, thanks to the ultrasonic microphones used, it is guaranteed that whoever decides to lower the tone will continue to obtain frequency richness.

    Ideal applications:

    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: Enrich your audiovisual productions 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 audios: 69 (Each audio contains between 3 and 6 variations)
    – Format: 192kHz – 96kHz/24bit
    – Equipment used: Zoom F6 recorder with Sennheiser MKH 8050 microphone and EM258 capsule microphone, plus a Zoom H6 recorder for stereo sound.

    License:

    The sounds from “The Animal Symphony – Donkey” are available under a royalty-free license, allowing them to be used in multiple projects at no additional costs. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

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  • Ribbiting Sounds for Your Next Project with our “Frogs” sound effects pack!

    This collection of high-quality, professionally recorded sounds captures the unique vocalization of frogs in their natural habitat.

    Ribbits, croaks, and chirps

    Perfect for aquatic or forest environments

    High-quality, 32-bit/192kHz

     

    Get Ready to Make a Splash with Your Next Project!

    15 %
    OFF
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  • Traffic Sound Effects Long Car Pass Bys Play Track 10-40 sounds included, 65 mins total $22

    This small library contains ten exquisite recordings in multiple variances of cars driving through a quiet and expansive landscape along a very long road. You can hear the car approaching from a very far distance, passing by close, and slowly fading away into the distance for a very long time as well. In other words; we capture the car’s journey from afar, stretching on until it disappears over the horizon.

    All recordings are clear and entirely devoid of external noise and human disruptions.

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

    Get more than one hour of unique, royalty-free and notably high quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered to sound as natural as possible. With an average duration ranging from 40 seconds to 3 1/2 minutes per file. For more detailed descriptions of the recordings within this collection, please refer to the metadata provided in our file lists or listen to the preview montage.

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

  • All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272, Sonorous Objects SO.3 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.


   

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