Asbjoern Andersen


Sound designer Charles Maynes has worked on blockbusters like the Spider-Man series, Total Recall, After Earth and a myriad of others. He’s also a noted sound effects recordist for film and video games such as Call of Duty, Metal of Honor, BLACK and Tom Clancy’s Ghost Recon series.

Today, I’m delighted to present this guest post from him here on A Sound Effect, where he shares the 10 notions he finds essential to great sound design.

 

Asbjoern asked me to contribute a musing about the concept of ‘Sound Design’ and what I thought were important considerations for the A Sound Effect visitors.

After reflecting on what I might think was valuable – and what my heroes think about the idea – I came up with the following notions or suggestions for all of us in the world of the sonic arts.

It was good fun, and I hope it is of some interest.

I have to thank so sincerely all of those folks who have provided me both mentoring and inspiration.

Specifically, these would be Randy Thom, Stephen Hunter Flick, Ron Bochar, Jon Johnson, Skip Lievsey, Jay Wilkinson, Bill Jacobs, Charles Deenen, Ann Kroeber, Gary Rydstrom and David Yewdall. I thank them from the bottom of my heart for being both great artists, and inspirations.

Below, I present my chosen notions – with explanations on why I think they’re so important to the work we do as sound designers.
 

But first: What IS a Sound Designer anyway?

A quick preamble which addresses a continuing Pandora’s box in our community:

There has been much talk about “what” a “Sound Designer” is.

I could write pages on the discussion, but I largely feel that it comes down to two basic distinctions which I label the “upper” and “lower” case description of the job.

In the “upper” case “Sound Designer” variant, I would say this has been best described by Randy Thom (who definitely fits in this realm) as something akin to a “Sound Director”. Ie. someone who is really defining the true aesthetic of the project.

Classic examples would be the work of Walter Murch, especially in films such as “Apocalypse Now”, “The Conversation” and “American Grafitti”.

The Sound Designer will be using ALL of the sound groups to accomplish this task

With this, it is important to say that the Sound Designer will be using ALL of the sound groups to accomplish this task; Dialog, Music, Sound Effects, Foley, and special sound design.

The sound designer will usually have a significant role in the mixing of the elements to achieve the vision of the director, and will be participating in the decision making at the level of the Picture Editor and Cinematographer.

The second, what I call the “lower-case” “sound designer”, is what might better be described as a sound effects designer- ie. someone who creates sound effects for a certain action or space, but doesn’t have that larger imprint on how (or if) it will be used.

At one point, there was more of a division with this and sound effects editing, but I believe that distinction has largely disappeared for the most part, as we sound editors are almost constantly having to create effects where existing material might be not available.

So, with that being said.. off we go!
 

1: “No matter how much experience you have, you do good art by making lots of mistakes and learning from them. That’s the way it happens early in your career, and it changes very little even after several decades.” – Randy Thom

Randy is just an amazing, amazing man. What he says in this comment is the mark of his humility, and in that comment we do confront the classical business issue of “Fast/Cheap/Good” which is omnipresent in our western society.

The problem with that paradigm is that “Art” doesn’t mind timetables well, and if we are hoping to create “Art” which is new, and original, it sometimes takes some time to formulate those ideas. That is why most commercials and short turnaround work usually sounds like other things you have heard before.

When we look at films like “The Matrix” or “Gravity”, we see daring choices that were dangerous and thought-provoking. These choices though were ultimately agreed upon and approved by people other than the “Sound Designer”. We are hired to serve our collaborators in our work, so their viewpoint will indeed dictate the degree of freedom and latitude we have in our work.

An attachment to this would be to realize that is that the brilliant ideas we come up with might be discarded like the pristinely perfect parsley that comes with a fine meal. This is not an indictment on the quality of our contribution though.
 

2: ‘Never use the “right” sound for an action’ 
-A concept from Treg Brown, legendary sound designer for the original Warner Brothers cartoons

Treg Brown is probably one of the most important figures in sound design history. His work redefined animated sounds, and his work is truly foundational to modern sound design.

And when we read about Gary Rydstrom using the sound of dog food being sucked out of a can for the sound of the Terminator going through prison bars, we can trace the thinking in that exploration back to Mr. Brown’s sweeping influence on our art form.

I have always considered this to be a literary parallel to sound: When we metaphorically approach the sound we are envisioning. So thinking in the terms of metaphor and simile can be terrifically useful in creating an emotionally compelling aural experience.
 

3: “Should” is a dangerous word.
Wow, that’s an ambiguous statement – but it addresses the notion of “Formulaic outcome”, which can often simply be the process of attaching cliché to art.

“Should” is a pretty useful word usually. To really address this sub-topic, we need to ask of if we are working in “high” and “low” art – but we have a difficult condition where “art” isn’t demanded, or even desired, but “craft” is.

Not every project presents itself with the need for creative or abstract sound

Not every project presents itself with the need for creative or abstract sound. In those cases sometimes the dialog is so key that it doesn’t require more, or in other cases, music might be key to the drama.

One example that I think of in this case was the film “Tinker, Tailor, Soldier, Spy” which had a great score, which drove the emotional tenor of the film. The sound design was actually brilliant, but it was largely overshadowed by the amazing score.
 

4: Your director is the first most important person to want to please. There are others who can see that you are replaced at a whim though.

Our director is the one person who has a singular vision for all the parts that make up his experience. Usually though, he or she will not have absolute control over the end product.

Producers will also have a say in the matter, and will hopefully be communicating those ideas in advance to the Director and Editors involved ahead of us.

We are in the service business, and we serve our work like other businesses make food, or other goods.

Though in many ways, as “sound designers” we are in the same sort of boat as musicians trying to make a living with their work. There are many, many qualified people who do creative work as a simply matter of fact. Sometimes the work we do ends up getting recognition, which might elevate our visibility – and sometimes we do amazing work that is largely unrecognized.


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


Trending right now:

  • Destruction & Impact Sounds Metamorphosis Play Track 2328 sounds included $190

    Metamorphosis is a huge collection of recorded source, synthesized material and hybrid sounds. The library was created to cover a wide range of themes, with rich textures, aggressive impacts and a large selection of pass bys, bass drops, pyrotechnics and many more types of material.

    All of the Recorded Section was captured at 384KHz with microphones capable of recording up to 200KHz among with more conventional mics. The resulting assets are sounds that can be stretched to new extremes for greater sound design opportunities.
    In many cases I took the liberty to slow down the assets while editing the sounds to deliver what I thought was the most useful version of a given recording though in most cases I have also included other takes at the original 384KHz sample rate to get the best of both worlds.

    All of the Synthesized Content was created in Serum while the Hybrid Section was created by manipulating the Recorded and Synthesized sounds.

    Techniques such as morphing were used to blur the lines in between the nature of the two sources, making for ambiguous yet extremely versatile material that can be employed on both realistic and abstract designs.

    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.
  • MAGIC VS MACHINE – The Epic Collision of Realms
    Headline:The war of two worlds has begun. Experience the ultimate sound clash between the mystical forces of Magic and the advanced technology of the Future!
    Body:
    Prepare to immerse your audience in the thrilling conflict of MAGIC VS MACHINE, a colossal sound effects library pitting ancient magic against futuristic technology. This comprehensive collection is your key to crafting truly epic soundscapes for your short videos, short dramas, games, film trailers, and any project where these two powerful forces collide.
    The Magic World (253 WAV Files):
    Delve into the arcane with a rich tapestry of magical sounds, meticulously crafted to capture the essence of a realm steeped in enchantment and primal energy.
    • Biological Magic (20 FX): Twisted energies, the whispers of the undead, the cries of mutated creatures – sounds of the unnatural and unsettling.
    • Dark Magic (70 FX): Harness the power of shadow and despair with crushing gravity, void-like darkness, and explosive bursts of dark matter.
    • Natural Magic (61 FX): Command the elements! Feel the fury of wind, the heat of fire, the crackle of lightning, the solidity of earth, and the fluidity of water.
    • The Light Magic (102 FX): Experience the swiftness and brilliance of light-based powers, from quick strikes and luminous blades to focused laser energy.
    The Future World (450 WAV Files):
    Step into a world of gleaming metal, buzzing energy, and high-tech mechanisms. These sounds are designed to bring your futuristic settings and advanced weaponry to life.
    • Future Ambiences (3 FX): Subtle background textures to establish the atmosphere of a technological era.
    • Alarms & Sirens (5 FX): Warning signals and alerts from automated systems and advanced security.
    • Energy Hum & Data Transfer (4 FX): The subtle, pulsing life of futuristic power systems and the flow of digital information.
    • Machine Devices (42 FX): The intricate sounds of doors, switches, loading mechanisms, various devices, and ammunition handling.
    • System Damage (13 FX): The unsettling sounds of malfunctions, errors, and equipment failure.
    • System UI (120 FX): A vast collection of clean and futuristic user interface beeps, clicks, confirmations, and notifications.
    • Weapons of the Future (246 FX): A comprehensive arsenal of cutting-edge weaponry:
      • Electromagnetic Guns (30 FX)
      • Energy Transmitters (10 FX)
      • Frost Guns (20 FX)
      • Laser Guns (42 FX)
      • Metal Cutting Guns (29 FX)
      • Pulse Guns (20 FX)
      • Energy Rifles (22 FX)
      • Sulfuric Acid Guns / Venom (14 FX)
      • Super Heavy Machine Guns (27 FX)
      • EMP Grenades (9 FX)
    • Drone & Aircraft Whooshes (40 FX): Dynamic movement sounds for flying vehicles, covering both general motion and directional passes (Left to Right & Right to Left).
    • 96000 kHz
    • 24Bit
    • WAV
  • 622 meticulously processed stereo electric and lightning spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of spells. It also includes raw files for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

    The library is fully focused on electric, thunder and lightning spells. You will find simple one shot electric impacts, powerful high level thunder spells, magic weapon enchantments and so on. Spells such as lightning strike, electric blast, thunderbolt, magnetic field, thunder hammer, electric sword, lightning projectile, etc. are included in this library.

    THE ARCANE ELECTRIC SPELLS

    Recorded assets: Thunder, big and small adhesive tapes, inflated balloon, styrofoam, cellophane, various clothes, baseball glove, winter gloves, metal objects, aluminum foil, oven door, etc. Analog/digital synths and ultrasonic/geophone usage for more variety.

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

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

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical sounds [Use them again & again
    – Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 405 spell sounds
    – Format: 192KHz / 24 bits
    – Win/Mac: Yes
    – Minutes of audio provided: 22:26


Latest releases:

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

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

    This collection of Building Blocks contains following categories:

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

     

    * Also including HEAVY & SUB variants

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

    25 %
    OFF
  • Dreamscapes is a curated collection of versatile drones and textures designed to transport you into deep, otherworldly realms.

    The pack spans a wide range of moods—from low-rumbling environmental ambiences and ethereal drones to delicate, transparent textures.

    All sounds are provided as seamless loops, making them perfectly suited for any project, including games, with no additional editing required.

     

  • Step into the realm of cinematic magic with this versatile collection of elements that ignite the imagination and elevate storytelling. From the sweeping whoosh of movement to the atmospheric drones that set the mood, each sound adds depth and dimension to your audio landscape. Experience the exhilarating rise of tension with risers and bass, and the rhythmic pulse of synth hits that propel the narrative forward. Delve into the mysterious wobbling whooshes and ethereal synth trills, offering a rich palette of textures to create immersive cinematic experiences that captivate audiences.

  • MAGIC VS MACHINE – The Epic Collision of Realms
    Headline:The war of two worlds has begun. Experience the ultimate sound clash between the mystical forces of Magic and the advanced technology of the Future!
    Body:
    Prepare to immerse your audience in the thrilling conflict of MAGIC VS MACHINE, a colossal sound effects library pitting ancient magic against futuristic technology. This comprehensive collection is your key to crafting truly epic soundscapes for your short videos, short dramas, games, film trailers, and any project where these two powerful forces collide.
    The Magic World (253 WAV Files):
    Delve into the arcane with a rich tapestry of magical sounds, meticulously crafted to capture the essence of a realm steeped in enchantment and primal energy.
    • Biological Magic (20 FX): Twisted energies, the whispers of the undead, the cries of mutated creatures – sounds of the unnatural and unsettling.
    • Dark Magic (70 FX): Harness the power of shadow and despair with crushing gravity, void-like darkness, and explosive bursts of dark matter.
    • Natural Magic (61 FX): Command the elements! Feel the fury of wind, the heat of fire, the crackle of lightning, the solidity of earth, and the fluidity of water.
    • The Light Magic (102 FX): Experience the swiftness and brilliance of light-based powers, from quick strikes and luminous blades to focused laser energy.
    The Future World (450 WAV Files):
    Step into a world of gleaming metal, buzzing energy, and high-tech mechanisms. These sounds are designed to bring your futuristic settings and advanced weaponry to life.
    • Future Ambiences (3 FX): Subtle background textures to establish the atmosphere of a technological era.
    • Alarms & Sirens (5 FX): Warning signals and alerts from automated systems and advanced security.
    • Energy Hum & Data Transfer (4 FX): The subtle, pulsing life of futuristic power systems and the flow of digital information.
    • Machine Devices (42 FX): The intricate sounds of doors, switches, loading mechanisms, various devices, and ammunition handling.
    • System Damage (13 FX): The unsettling sounds of malfunctions, errors, and equipment failure.
    • System UI (120 FX): A vast collection of clean and futuristic user interface beeps, clicks, confirmations, and notifications.
    • Weapons of the Future (246 FX): A comprehensive arsenal of cutting-edge weaponry:
      • Electromagnetic Guns (30 FX)
      • Energy Transmitters (10 FX)
      • Frost Guns (20 FX)
      • Laser Guns (42 FX)
      • Metal Cutting Guns (29 FX)
      • Pulse Guns (20 FX)
      • Energy Rifles (22 FX)
      • Sulfuric Acid Guns / Venom (14 FX)
      • Super Heavy Machine Guns (27 FX)
      • EMP Grenades (9 FX)
    • Drone & Aircraft Whooshes (40 FX): Dynamic movement sounds for flying vehicles, covering both general motion and directional passes (Left to Right & Right to Left).
    • 96000 kHz
    • 24Bit
    • WAV
  • Cinematic & Trailer Sound Effects Magic – Alchemy Play Track 4213 sounds included From: $135 From: $108

    SONIC SPELLS WITH REAL PERSONALITY

    MAGIC – ALCHEMY is a professional sound effects library built from real chemical reactions and elemental forces. It delivers short, character-rich magic sound effects perfect for spellcasting, magical UI design, and fantasy storytelling. Designed to sit cleanly in a mix and shimmer with personality, these spell sounds are ideal for games, trailers, audio dramas and more. Real reactions, recorded with obsessive detail.

    MAGIC - ALCHEMY | Sound Effects | Trailer

    Magic Sounds from Real Chemical Reactions

    No digital fakery here. Every sound in MAGIC – ALCHEMY began as a live experiment — alcohol burning in jars, butane growling through pipes, fuses igniting, water swirling in glass. These are true-to-life textures, captured in a lab-grade recording setup. The result? Magical sound with depth, realism, and spark..

    Short, Sharp, and Ready to Use

    These are not long, cinematic flourishes. This library is about immediacy — short, dry, punchy magic effects that are easy to slot into your project. Ideal for game asset design, magical feedback sounds, and trailer moments where clarity counts.

     
     
     

    Three Spell Flavours: Holy, Cursed, Neutral

    Need a healing chime, a cursed hex, or something more ambiguous? The Designed section is grouped into Holy, Cursed, and Neutral categories — giving you emotional options that match your scene’s intent, whether you’re crafting a fantasy RPG or a subtle magical interaction.

    Built for Professionals, Whatever You Create

    Whether you’re layering magic for a fantasy film, adding interactive audio to a mobile game, or creating rich textures for audiobooks or theatre, MAGIC – ALCHEMY fits right in. It’s mix-ready, flexible, and full of sonic character.

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Need specific sound effects? Try a search below:


5: There are many ways to Mecca, and many are highly compelling.

A quote from General George S. Patton. Actually, he said this:

“Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity.”

This is a concept which is sort of covered in the others, but it is important to iterate: If we are allowed to be creative, ideally we will not be micro-managed in doing so. Sometimes that’s not the case though – but we can hope for the best.
 

6: Should sound be really cool, or invisible as a component?

Another sort of multi-faceted comment: Will sound make a bad film or whatever be good? Will “bad” sound wreck an otherwise great film or media experience?

What is “good” sound?

Back when I was younger, the phrase “Turd polishing” was sort of popular. On a creative level, doing that is always unsatisfying, because bad stories are generally not going morph into good stories through elaborate adornments.

The obvious thing here though is that we are for-hire labor, so we really don’t always have much of a say as to the quality of our projects when not working is the alternative. So I suppose this should really give us an appreciation of our place in an imperfect world.

When we however look at “good” films, strangely, sound seems less important.

Try to find as much joy in the project as is possible, and to attach as much of yourself to its success as well

Sure, with films like “The Matrix”, “Saving Private Ryan” or “Jurassic Park” sound plays a huge role in the experience, but largely, the experience would be nearly as visceral silent. That is the mark of exquisite film making.

One tool I find very important though is to try to find as much joy in the project as is possible, and to attach as much of yourself to its success as well.

When it misfires at the starting line we may be disappointed, but we will have the satisfaction of knowing the best possible work we could have provided WAS provided.
 

7: Go out and sound explore. Hearing sound in the first person and actively listening is a very important experience.

There is not a lot to add here: Being involved in the real world is a great thing.
 

8: Verbalizing effects is often useful, and sometimes, those effects are actually what’s used in the end.

Perhaps not an obvious thing, but it’s terrifically useful. Especially if you can’t quite get the sound you are looking for via editorial. Many of the biggest names in sound design do this, and though we can sometimes be a little too self-critical, it usually is very useful to do.
 

9: ‘Sound Design, Sound Editing, and Sound Mixing are all about Editorial. It is the process of purifying the sonic moment. And often means reducing things, not adding more.’ – Randy Thom

Randy is always very eloquent, and I would be reluctant to add much to his comment on this. I will say that it is difficult to be too critical with our own work though.
 

10: A second quote from General George S. Patton, and one I hold quite dearly: ‘Prepare for the unknown by studying how others in the past have coped with the unforeseeable and the unpredictable.’

Again things that have been mentioned speak to this. But in the end, it speaks to education. We can learn tons by reading and listening to those who went before us. As Shakespeare said, “there are no new ideas under the sun”. We can take those previous approaches and mix them up to suit the needs of the project.

A bonus suggestion: Take everything you hear from your peers and colleagues with a pound of salt.
 

– Charles Maynes
Sound Designer, field recordist and hopeful activist.

 


 
A big thanks to Charles Maynes for his insights!

 

Please share this:


 



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

  • Destruction & Impact Sounds Metamorphosis Play Track 2328 sounds included $190

    Metamorphosis is a huge collection of recorded source, synthesized material and hybrid sounds. The library was created to cover a wide range of themes, with rich textures, aggressive impacts and a large selection of pass bys, bass drops, pyrotechnics and many more types of material.

    All of the Recorded Section was captured at 384KHz with microphones capable of recording up to 200KHz among with more conventional mics. The resulting assets are sounds that can be stretched to new extremes for greater sound design opportunities.
    In many cases I took the liberty to slow down the assets while editing the sounds to deliver what I thought was the most useful version of a given recording though in most cases I have also included other takes at the original 384KHz sample rate to get the best of both worlds.

    All of the Synthesized Content was created in Serum while the Hybrid Section was created by manipulating the Recorded and Synthesized sounds.

    Techniques such as morphing were used to blur the lines in between the nature of the two sources, making for ambiguous yet extremely versatile material that can be employed on both realistic and abstract designs.

    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.
  • MAGIC VS MACHINE – The Epic Collision of Realms
    Headline:The war of two worlds has begun. Experience the ultimate sound clash between the mystical forces of Magic and the advanced technology of the Future!
    Body:
    Prepare to immerse your audience in the thrilling conflict of MAGIC VS MACHINE, a colossal sound effects library pitting ancient magic against futuristic technology. This comprehensive collection is your key to crafting truly epic soundscapes for your short videos, short dramas, games, film trailers, and any project where these two powerful forces collide.
    The Magic World (253 WAV Files):
    Delve into the arcane with a rich tapestry of magical sounds, meticulously crafted to capture the essence of a realm steeped in enchantment and primal energy.
    • Biological Magic (20 FX): Twisted energies, the whispers of the undead, the cries of mutated creatures – sounds of the unnatural and unsettling.
    • Dark Magic (70 FX): Harness the power of shadow and despair with crushing gravity, void-like darkness, and explosive bursts of dark matter.
    • Natural Magic (61 FX): Command the elements! Feel the fury of wind, the heat of fire, the crackle of lightning, the solidity of earth, and the fluidity of water.
    • The Light Magic (102 FX): Experience the swiftness and brilliance of light-based powers, from quick strikes and luminous blades to focused laser energy.
    The Future World (450 WAV Files):
    Step into a world of gleaming metal, buzzing energy, and high-tech mechanisms. These sounds are designed to bring your futuristic settings and advanced weaponry to life.
    • Future Ambiences (3 FX): Subtle background textures to establish the atmosphere of a technological era.
    • Alarms & Sirens (5 FX): Warning signals and alerts from automated systems and advanced security.
    • Energy Hum & Data Transfer (4 FX): The subtle, pulsing life of futuristic power systems and the flow of digital information.
    • Machine Devices (42 FX): The intricate sounds of doors, switches, loading mechanisms, various devices, and ammunition handling.
    • System Damage (13 FX): The unsettling sounds of malfunctions, errors, and equipment failure.
    • System UI (120 FX): A vast collection of clean and futuristic user interface beeps, clicks, confirmations, and notifications.
    • Weapons of the Future (246 FX): A comprehensive arsenal of cutting-edge weaponry:
      • Electromagnetic Guns (30 FX)
      • Energy Transmitters (10 FX)
      • Frost Guns (20 FX)
      • Laser Guns (42 FX)
      • Metal Cutting Guns (29 FX)
      • Pulse Guns (20 FX)
      • Energy Rifles (22 FX)
      • Sulfuric Acid Guns / Venom (14 FX)
      • Super Heavy Machine Guns (27 FX)
      • EMP Grenades (9 FX)
    • Drone & Aircraft Whooshes (40 FX): Dynamic movement sounds for flying vehicles, covering both general motion and directional passes (Left to Right & Right to Left).
    • 96000 kHz
    • 24Bit
    • WAV
  • Step into a world of spells, mysticism, and creative power with Spells Variations Vol. 2, the follow-up to our acclaimed magical sound collection. This time, we’ve expanded the elemental and thematic range, offering 405 professionally crafted sound effects that are fully categorized and ready to use.
    Inside, you’ll find a wide variety of magical types:
    🔥 Fire
    💧 Water
    🌪️ Air
    🌍 Earth
    Electricity
    ❄️ Ice
    ☠️ Poison, Mud, Rocks
    ✨ As well as Arcane, Dark, Monstrous, and other mystical spell types.

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

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical sounds [Use them again & again
    – Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 405 spell sounds
    – Format: 192KHz / 24 bits
    – Win/Mac: Yes
    – Minutes of audio provided: 22:26

Explore the full, unique collection here

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

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

    This collection of Building Blocks contains following categories:

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

     

    * Also including HEAVY & SUB variants

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

    25 %
    OFF
  • Dreamscapes is a curated collection of versatile drones and textures designed to transport you into deep, otherworldly realms.

    The pack spans a wide range of moods—from low-rumbling environmental ambiences and ethereal drones to delicate, transparent textures.

    All sounds are provided as seamless loops, making them perfectly suited for any project, including games, with no additional editing required.

     

  • Step into the realm of cinematic magic with this versatile collection of elements that ignite the imagination and elevate storytelling. From the sweeping whoosh of movement to the atmospheric drones that set the mood, each sound adds depth and dimension to your audio landscape. Experience the exhilarating rise of tension with risers and bass, and the rhythmic pulse of synth hits that propel the narrative forward. Delve into the mysterious wobbling whooshes and ethereal synth trills, offering a rich palette of textures to create immersive cinematic experiences that captivate audiences.

  • MAGIC VS MACHINE – The Epic Collision of Realms
    Headline:The war of two worlds has begun. Experience the ultimate sound clash between the mystical forces of Magic and the advanced technology of the Future!
    Body:
    Prepare to immerse your audience in the thrilling conflict of MAGIC VS MACHINE, a colossal sound effects library pitting ancient magic against futuristic technology. This comprehensive collection is your key to crafting truly epic soundscapes for your short videos, short dramas, games, film trailers, and any project where these two powerful forces collide.
    The Magic World (253 WAV Files):
    Delve into the arcane with a rich tapestry of magical sounds, meticulously crafted to capture the essence of a realm steeped in enchantment and primal energy.
    • Biological Magic (20 FX): Twisted energies, the whispers of the undead, the cries of mutated creatures – sounds of the unnatural and unsettling.
    • Dark Magic (70 FX): Harness the power of shadow and despair with crushing gravity, void-like darkness, and explosive bursts of dark matter.
    • Natural Magic (61 FX): Command the elements! Feel the fury of wind, the heat of fire, the crackle of lightning, the solidity of earth, and the fluidity of water.
    • The Light Magic (102 FX): Experience the swiftness and brilliance of light-based powers, from quick strikes and luminous blades to focused laser energy.
    The Future World (450 WAV Files):
    Step into a world of gleaming metal, buzzing energy, and high-tech mechanisms. These sounds are designed to bring your futuristic settings and advanced weaponry to life.
    • Future Ambiences (3 FX): Subtle background textures to establish the atmosphere of a technological era.
    • Alarms & Sirens (5 FX): Warning signals and alerts from automated systems and advanced security.
    • Energy Hum & Data Transfer (4 FX): The subtle, pulsing life of futuristic power systems and the flow of digital information.
    • Machine Devices (42 FX): The intricate sounds of doors, switches, loading mechanisms, various devices, and ammunition handling.
    • System Damage (13 FX): The unsettling sounds of malfunctions, errors, and equipment failure.
    • System UI (120 FX): A vast collection of clean and futuristic user interface beeps, clicks, confirmations, and notifications.
    • Weapons of the Future (246 FX): A comprehensive arsenal of cutting-edge weaponry:
      • Electromagnetic Guns (30 FX)
      • Energy Transmitters (10 FX)
      • Frost Guns (20 FX)
      • Laser Guns (42 FX)
      • Metal Cutting Guns (29 FX)
      • Pulse Guns (20 FX)
      • Energy Rifles (22 FX)
      • Sulfuric Acid Guns / Venom (14 FX)
      • Super Heavy Machine Guns (27 FX)
      • EMP Grenades (9 FX)
    • Drone & Aircraft Whooshes (40 FX): Dynamic movement sounds for flying vehicles, covering both general motion and directional passes (Left to Right & Right to Left).
    • 96000 kHz
    • 24Bit
    • WAV
  • Cinematic & Trailer Sound Effects Magic – Alchemy Play Track 4213 sounds included From: $135 From: $108

    SONIC SPELLS WITH REAL PERSONALITY

    MAGIC – ALCHEMY is a professional sound effects library built from real chemical reactions and elemental forces. It delivers short, character-rich magic sound effects perfect for spellcasting, magical UI design, and fantasy storytelling. Designed to sit cleanly in a mix and shimmer with personality, these spell sounds are ideal for games, trailers, audio dramas and more. Real reactions, recorded with obsessive detail.

    MAGIC - ALCHEMY | Sound Effects | Trailer

    Magic Sounds from Real Chemical Reactions

    No digital fakery here. Every sound in MAGIC – ALCHEMY began as a live experiment — alcohol burning in jars, butane growling through pipes, fuses igniting, water swirling in glass. These are true-to-life textures, captured in a lab-grade recording setup. The result? Magical sound with depth, realism, and spark..

    Short, Sharp, and Ready to Use

    These are not long, cinematic flourishes. This library is about immediacy — short, dry, punchy magic effects that are easy to slot into your project. Ideal for game asset design, magical feedback sounds, and trailer moments where clarity counts.

     
     
     

    Three Spell Flavours: Holy, Cursed, Neutral

    Need a healing chime, a cursed hex, or something more ambiguous? The Designed section is grouped into Holy, Cursed, and Neutral categories — giving you emotional options that match your scene’s intent, whether you’re crafting a fantasy RPG or a subtle magical interaction.

    Built for Professionals, Whatever You Create

    Whether you’re layering magic for a fantasy film, adding interactive audio to a mobile game, or creating rich textures for audiobooks or theatre, MAGIC – ALCHEMY fits right in. It’s mix-ready, flexible, and full of sonic character.

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