A man configures the caveman characters in a stop motion animation scene. Asbjoern Andersen


Early Man is the latest feature-length clay animation project from animation legend Nick Park - and here's the story on how supervising sound editor Adrian Rhodes brought it to life with sound:
Written by Jennifer Walden. Images courtesy of Warner Bros.
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If the name Nick Park isn’t instantly familiar, then you might be more familiar with these — Wallace and Gromit. The clay animation characters are a staple of Aardman Animations. Their first adventure — the Oscar-nominated short animation film A Grand Day Out (1990), paved the way for three more short films, a feature length film, a TV series, video games, and several spin-offs, some of which involve the lovable Shaun the Sheep character. Although A Grand Day Out didn’t win the Oscar for ‘Best Short Film, Animation’ that year, Park still took home the Oscar in that category for his other short animation Creature Comforts. In total, Park has won four Oscars — proof that he has a knack for creating memorable characters and entertaining stories.

Park’s latest feature-length clay animation Early Man tells the story of a Stone Age tribesman named Dug (voiced by Eddie Redmayne), whose clan is challenged by the Bronze Age people led by Lord Nooth (voiced by Tom Hiddleston). In order to preserve their territory, Dug and his people must defeat the Bronze Age people in a game of football (soccer).

Park chose long-time collaborator, award-winning supervising sound editor Adrian Rhodes at Warner Bros. De Lane Lea, to supervise and design the sound on Early Man. Here, Rhodes talks about how the experience of working on past Aardman Animations projects compares to Early Man, and how they used sound to tell this unique story.

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Two men laugh in the vocal booth.You’ve worked on many Aardman Animation films, like The Curse of the Were-Rabbit, The Pirates! Band of Misfits, and Shaun the Sheep Movie. How did the experience of working on Early Man compare to those films?

Adrian Rhodes (AR): I have done a lot of Aardman films, so I’m quite experienced working with their style. I was actually at film school with Nick Park and we’ve stuck together for a pretty long time now.

Early Man was the first film I’ve done since coming back to De Lane Lea. I rejoined after a few years, so it was nice to come back with another Nick Park film. The last one I had mixed at De Lane Lea was The Curse of the Were-Rabbit.

There’s a lot more dialogue in Early Man than in most of the other Aardman films I’ve worked on, with the possible exception of The Pirates!. This one seemed quite dialogue-driven. I’d also say that with every new Aardman film there’s an increased amount of unsupported movement of characters across sets. I think in the early days the characters didn’t walk independently so much because they had a framework attached to them to support them, and CGI removal was less prevalent. So much was often concealed by having part of the characters falling into the edge of frame where the rigs were off camera. Using CGI to paint out rigs was a costly process but now it seems relatively easy to do. So, in Early Man the characters move a lot more across the set and you get a lot more walking, running, and complex movement.

With the increased movement, do find that the role of Foley has increased?

AR: Most definitely, and I’ve always embraced Foley within the scope of the sound effects for stop-frame films I work on. Because it’s not a live action film where feet and prop effects can come with the production recordings, you need every footstep as a vital ingredient that brings the models to life. I find it important to include Foley in with the sound effects side of things, largely so I can achieve correct perspective and get to an overall sound effects balance in a better way. I always create the Foley right from the word ‘go’ rather than waiting to do a final Foley session to a locked cut.

I’ve definitely given a lot of attention to the footsteps in this film. There were a lot of different surfaces. You have a tribe of people who are largely barefoot on one side and then on the other side of things you have the Bronze Age people and there’s a lot of metal involved. The characterization and movement of the tribe differed from the Bronze Age people and their movements so we worked very hard on the footsteps.

A tribe of cavemen, along with a boar and rabbit, smile and run.

And what about the cloth pass, with the Stone Age tribe in furs and the Bronze Age people in cloth and metal?

AR: I only use cloth where it’s obvious. I don’t need the cloth pass throughout. I find it’s not particularly true to life or most realities to hear clothing rustle to any great degree. I don’t do a continuous blanket track of cloth and I only use it very sparsely and specifically, when there’s an obvious need to hear it to draw attention to some fur or cloth/clothing rustling around.

When we did record some fur and cloth, I found the Neumann U 87 mics useful for close, full, fat recordings.

The metal and armor required a bit more work, and we recorded a lot of rattling metal of all kinds either in-studio or out and about.

 
Were there any big moments for Foley in the film?

AR: Loads of them, all the way through the film really. In particular, I think a lot of the football sequences towards the end of the film were particularly Foley-driven. You have interesting contrasts between the Stone Age men in their caterpillar trainers (sneakers) and the Bronze Age guys rattling around in metal armor. So the football match was full of contrasting Foley.
 


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Let’s talk about your sound team for the film. Who did you chose to work on Early Man with you?

AR: It was myself and Antony Bayman on both effects and Foley. I’ve worked with him on a dozen films now. He did Foley and effects on Shaun the Sheep and The Pirates! with me, so he has a great appreciation of the level of detail required. In particular, he focused a lot on the Foley on Early Man. Much was done out of the studio so that we had a greater variety of surfaces to play with than we could get in the studio. I’m always very keen to try and experiment to see what we can get off-stage. We did a lot of close-miked feet out in the countryside at night for background quietness, especially the barefoot Foley which was frequently achieved by slapping and cupping hands on a vast variety of stone, dirt, and grass.

We didn’t have a huge number of people on the sound crew. On the dialogue side we had Tim Hands, who I’ve worked with many times before. He ran the dialogue on Chicken Run and on The Pirates! and provided the voice of the stray dog in Shaun as well. In one of his other jobs, he covers the ADR dialogue on Game of Thrones. As per most animated films, a lot of the dialogue is recorded up front and laid up by the picture editor and 1st Assistant prior to animation. (For Early Man, that was Sim Evan-Jones and Tom Doggart, respectively.) Tim took care of all aspects of the dialogue once we were in post, and he sorted out the loop group recording. He is a talented vocal artist in his own right and amazingly great with accents. He was the voice of the rabbit and many other background characters in this film as well. He’s a very useful man to have on board.

One of the things I’m most happy with on this film was the mix. I was fortunate to have re-recording mixer Chris Burdon as the main mixer at Warner Bros. De Lane Lea. He was the lead and re-recording mixer Gilbert Lake was handling the effects side of things. This film was mixed in Dolby Atmos; as it was the first time that I was involved with an Atmos mix it was great to have this kind of experience on the desk. Gilly [Lake] had been a key part of mixes on the Lord of the Rings films down in New Zealand. And Chris earned an Oscar nomination for his work on Captain Phillips. The two guys are amazing talents and it was a really enjoyable mix. We also had some highly skilled sound assistants on the team at WB De Lane Lea — James Cassidy, Mark Timms, and Marcus Moll.

Tony Lewis, our music editor, performed seamless work, coping with more than several last-minute recuts. And Simon Rhodes (my brother), was our scoring engineer, recording and mixing Harry Gregson-Williams and Tom Howes’s score at Abbey Road.

You’d have a thousand people gasping in perfect synchronicity. The sound was incredible.

One more guy I should mention is Danny Hambrook. There are a lot of large scale crowd scenes in the film, especially in the last two reels which are set in a big stadium arena. We did a large scale crowd recording session which Danny recorded on a 24 track Cantar. Aardman put out an advertisement to get as many people as we could into the Memorial Park football stadium in Bristol. Early one Saturday morning, literally a thousand people turned up. Danny miked them up beautifully with Schoeps MS pair, Audio-Technica short shotgun MS, two short shotgun DPA 4017’s, two hypercardiod DPA 4018 mics, and hidden among the crowd were some DPA 4061 lav mics. We recorded an amazing session of one thousand people gasping, screaming, booing, shouting hooray and chanting various things. We were fortunate to have Gareth Malone, a renowned UK Choirmaster, direct the crowd. When you have a thousand people, you need someone to control and direct them, to keep them together and to get the detail of the subtleties that you want. So he really shaped it. He was incredible and had these people at the end of his fingers. He’d say, “On the count of three, ‘gasp.’” And you’d have a thousand people gasping in perfect synchronicity. The sound was incredible.

Cavemen hop on hot stones to avoid the lava.

What was director Nick Park’s direction for sound on Early Man? How did he plan on using sound to help tell this story?

AR: I’ve worked with Nick a lot; he’s now very trusting of what I do and (after initial conversations and spotting sessions) leaves much of the detail of the soundtrack up to me. His main direction was to emphasize the different socio-geographic areas, the settings. You have three worlds essentially. There’s the Bronze Age town, which had to sound Pagan/Roman and gladiatorial or military-based. Then there’s the valley of the Stone Age people, which had to sound more idyllic and English countryside (with a hint of Paradise). To that I added a splash of rain forest sounds to make it feel a bit more like it’s the beginning of time. Then there was the Badlands, which had to feel desolate and volcanic, but obviously not too miserable sounding. We were very careful with how much doom and gloom we added. We had some thunder rolls and volcanic sounding backgrounds which were multi-purpose, gentle and warm, sometimes ominous, and occasionally dramatic. So that was one of Nick’s main directions, to really differentiate the areas.

Part of this approach, dialogue-wise, was to make sure there was a contrasting difference between the accents of the people living in the Bronze Age town and the tribesmen of the Stone Age village. The Bronze Age people had a European flavor to them — French/German/Scandinavian, and the tribesmen sounded British albeit with various regional variations. We wanted to make sure we were very strict on getting the accents right for all the dialogue right through to the loop group recordings.

Another big direction was to use the stadium crowd (in the last third of the film) to act as an atmospheric participant in the drama. The ebb and flow of the crowd sounds texturally and emotionally underpinned the rise and fall of the drama of the football match.

Two men stand in a stadium packed with people.

In addition to the accent differences between the Bronze Age and Stone Age people, were there any other sonic distinctions that you wanted to make?

AR: We wanted to make sure the sounds for the tribesmen reflected their simple, bucolic life. There’s a primitive simplicity about how they live and we wanted to keep the sound of them and their environments naturally basic/minimalistic and surrounded by nature.

The Bronze Age people had a lot of metal and mechanical sounds, and there was more sophistication of the armor for them. They had quite a Medieval/Roman militaristic feel and that sets them up for being the dominant force. They were all armored-up and they’re opposing these loin cloth-clad cavemen. It’s very David and Goliath.

 
Aardman animations have a very distinct look. How did the look of the animation impact your approach to the sound?

You want to give them the weight that suits their screen presence so they cease to feel like little models.

AR: The most important thing I find about doing the sound for these films (where you have these plasticine/clay characters) is that you want to bring this world to life by adding the right feeling of weight. You want to give them the weight that suits their screen presence so they cease to feel like little models. You want to give them body and movement in an instinctive way, so that it feels real, but the audience is never distracted by the sounds; they just belong and feel right. It’s important how you cut the sounds and I tend to edit the sounds very specifically and ultra-tight to the animation. It’s a relatively simple approach but I find that helps immeasurably with ‘believability’ of movement. And you want to add lots of detail, often very subtle detail. With practice and some trial and error with combinations of sounds, they suddenly spring to life when you get it right.

 
Were there any other sounds that you captured specifically for this film that you would like to talk about?

AR: The most satisfying record was field recording of the crowd; that was the big one.

I did go to Brazil last year and I recorded Brazilian rainforest sounds so I was able to put some exotic bird calls and insects from there into the film.

I also recorded the contents of my garage and beyond, throwing around lots of metal objects and pieces of wood. I did a lot of recording to achieve a few snippets that I could use for various bits and bobs.

We found a heavy leather authentic football from the 1960’s on eBay and Ant [Bayman] and I close-recorded it whilst playing football.

I asked friends at a studio situated in a London inner-city farm if they could bring a duck into the studio and the duck was happy to have a little clip mic around her neck for some very close-up recordings.

I recorded some sounds for the mammoths at a wildlife park called Port Lympne. So it was nice to have my own real elephant sounds for that. As well as their trumpeting, we captured some lovely grumbling sounds. In our design for the mammoths, we did include some bear growls and other trunk-free animals to give them a more threatening, primitive feel. With the young audience in mind though, we had to be careful not to go too scary with these big mammoths or with the giant duck sound. We did record a real duck in the studio by the way. I asked friends at a studio situated in a London inner-city farm if they could bring a duck into the studio and the duck was happy to have a little clip mic around her neck for some very close-up recordings. It was great.

For field recording, I record on a Zoom H4N, using a Sennheiser MHK 416 or DPA 4061s. I’m always recording bits and bobs. I find it easier and more original to record sounds I need instead of trolling through endless amounts of library effects. The compactness of the Zoom means it’s always with me and I’m ready to grab whatever happens aurally.

A duck walks around with a lapel mic.

Overall, what was the biggest challenge in creating the sound for Early Man?

AR: It was probably a more technical challenge than creative. As discussed, we had a lot more CGI work in this one than I’d expect for an Aardman stop-frame film. Most of the stadium crowd work was CGI. The challenging thing was not seeing that for months and months and having to guess how it would be. We were trying to create the drama of the crowd shifting around, reflecting and reacting to what was going on in the main action, but we couldn’t physically see what was happening with the crowd until really late in the process. We were laying up these tracks of the crowd that we recorded but then we would have to adjust that almost on a daily basis to fit the changing cut. When a shot came in with CGI, we could see the reactions of a thousand people in the background shot and we’d have to reshape/retime the sound. We were crafting the reactions of the crowd to the drama but when the shots came in the sound for that wasn’t always right and needed finessing or needed to be completely changed all very late in the day.

Some of the shots we never saw until after we finished the mix. We were given little place markers, little frame flashes on the screen saying there’s going to be a reaction here or a volcanic explosion here, and so we put the sound in and hoped. Then the shot arrived after the mix and we had to hope that it worked. The first time I saw the finished print I had my fingers crossed hoping that everything would be right, and it was. It turned out all right in the end.

A woman in furry pelts kicks a football in a massive stadium.

Did you have a favorite scene for sound in this film?

It’s a very Nick Park humor moment, with these big doors that have complex cogs and mechanisms, and then there’s a little squeak as the small bolt finally locks the door.

AR: I have two. I loved the doors closing scene. When tribesman Dug [Eddie Redmayne] arrives in Bronze town on the back of a cart, the doors close and lock behind him. It’s a very Nick Park humor moment, with these big doors that have complex cogs and mechanisms, and then there’s a little squeak as the small bolt finally locks the door. The sound plays on Nick’s humor very nicely there.

I think the other bit that I really like is when Dug falls down through the stadium bleachers, down through the seats and you have the clackity-clackity-clack of the seats as he falls. He just keeps on going. There’s no music there; it’s all effects, and the humor is that the sound just keeps going on and on as he’s falling. Again very Nick humor. The clarity of effects we got there makes it work really well and we created a good space using the acoustics of the stadium and the way that we treated it was very nice. We had good sounds from wooden paddle slaps and a good mix playing beautifully with perspectives and we were utilizing the clarity of the Atmos panning.

 
What are you most proud of on this film?

AR: Everyone’s work but I’m especially proud of the mix on this film. Chris Burdon and Gilly Lake did such a lovely job. Chris steered us through wonderfully. It was difficult because this film had so much dialogue and a lot of complex movement, a lot of big scenes, plus a lot of music as well. Chris found great paths through it brilliantly, to really embrace the humor and drama. The sounds on this film are great (of course) but the way that Chris brought it all together was just superb. It’s a clarity thing. When you have a film where the music, sound effects, and dialogue all play a major role it’s a challenge to bring that all together so that it’s not a cacophony. The director Nick usually had very few notes. When he heard the mix, I think he was a bit blown over by it, as I think we all were. So, I’m banging the drum for the mixers and Stage 1 at WB De Lane Lea in London!

 

A big thanks to Adrian Rhodes for giving us a look at the humorous, textured sound of Early Man – and to Jennifer Walden for the interview!

 

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    As you know, creators of motion graphics, animations and explainer videos struggle mightily with finding the right sound effects for their projects. Sadly, wasting lots of time and energy. That’s why we created the Explainer Video Sound Kit. It’s an all-in-one power pack that gets your project done fast. 1200 designed sounds, cinematic elements, transitions, Foley, natural and organic sounds and a sweet selection of background music all ready to go.

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Whooshes liftFX Play Track 275+ sounds included $89 $71.20

    AWE YOUR AUDIENCE WITH RISERS, BUILD-UPS, DROPS AND MORE.
    Risers, build-ups, drops, breaks, downlifters, swells, sweeps, falls – it has never been so easy to hype your audience. Forget samples, just turn the knob or let liftFX even do that for you, automatically, in beat sync at the length you need it to be.

    KEY FEATURES:

    • Playable in real-time with instant auditive and visual feedback
    • Any length, tempo, pitch range and root note possible
    • Tempo sync or time (s) duration
    • Control key parameters independently or automatically (+ reversed)
    • Automation and modwheel (cc1) support for each parameter
    • 275 nifty presets included
    • Optional time lock and control lock to try different presets with current setting
    • High cut and low cut filters, reverb and delay
    • Lightweight plug-in, as it relies on synthesis
    USE CASES:

    • Build captivating uplifters, downlifters, drops, rhythmic, percussive builds and more effects out of the box
    • Any electronic genre such as EDM, Trap, Dubstep, Pop, Hip Hop, Drum’n’Bass, House, Techno, and more
    • Cinematic and experimental sound design
    • Beef up your synthesizers with tonal layers or harmonic overtones to achieve a fat, rich sound
    • liftFX requires a free iLok account (click to learn more)
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  • Sci-Fi Sci-Fi Interface Data Processing Sounds Play Track 170 sounds included, 11 mins total $22

    With DATA sound library Sound Response brings you high quality collection of meticulously designed data processing and readout sci-fi sound effects!

    If you’re looking for those futuristic-sounding, hi-tech processing interface sound effects, and the sounds of sci-fi computer readouts, calculations, sensors and scanning sound effects, this soundpack will provide you with diverse arsenal of various high tech data processing sound effects to suit your needs. With DATA sound library at your disposal you’ll have the right audio tool to create that sophisticated, futuristic, sci-fi sound for your game, movie, trailer, video, or any other project that you’re working on!

    DATA soundpack contains 403MB (170 sound effects) of high definition 24bit/96khz Stereo WAV files, embedded with metadata to speed up your workflow.

  • Horror Spooky Halloween Audio Bundle Play Track 170 sounds included, 107 mins total $249.99 $199.99

    Scare and Entertain your audience with this hugeDISCOUNTED BUNDLE of cutting edge horror sounds and haunting Halloween music , expertly recorded, designed, composed, mixed, and mastered to immerse your audience in a spooky cinematic experience the likes of which they will never forget! 

    Includes over 50 exceptionally eerie music tracks andhundreds of sound effects, all together coveringnearly 2 hours of highest quality scary audio, inspired by Hollywood Halloween classics such as “Monster House”, “Halloween”, “Goosebumps”, “The Nightmare Before Christmas”, “Corpse Bride”, “Casper”, “Adams Family” and the darkest of Disney fairy-tails including “Hocus Pocus”, “Maleficent”, “Into the Woods”, “The Haunted Mansion”, “Tower of Terror” and many more!

    No matter what you're on working on, whether it's a horror video-game, a creepy cartoon, a spooky app for children, or even a huge Halloween party, this ghostly gathering of ready-to-use sound effects is guaranteed to send a shiver through your project!

    Need to go even darker? You'll love the Gore sounds and Creepy music tracks we've included, such as those you may heard in classic and modern horror such as Resident Evil, SAW, The Blair Witch Project, 28 Days Later, and The Texas Chainsaw Massacre.

    MUSIC: FOREGROUND AND BACKGROUND
    ——————————————————————
    Whether you need to shock your audience with sudden stings, awe them with memorable themes, or introduce some subtle spookiness into your project with unobtrusive background loops, everything you need is here!

    SOUND EFFECTS: EVERYTHING YOU NEED
    ——————————————————————
    Whether you’re looking for creepy CHARACTER VOICES such as GHOSTS, WEREWOLVES, ZOMBIES and SCREAMS, intense ACTION SOUNDS including BUBBLING CAULDRONS, CREAKY DOORS, KNIFE ATTACKS and GORE SPLATTERS, EVIL LAUGHTER or spooky AMBIENCES like HOWLING WINDS, CREEPY CLOCKS and CHURCH BELLS, you're sure to be spooked by the huge range of sounds to be found inside!

    MUSIC: ENDLESS OPTIONS
    —————————————–
    With moods ranging from WHIMSICAL to TERRIFYING, plus MULTIPLE INTENSITY LEVELS, LOOPING and NON-LOOPING versions, and LENGTH VARIANTS, whatever the situation – we've got you covered!

    SOUND EFFECTS: BETTER THAN CANDY
    ————————————————————–
    Immerse yourself in over 500 audio files of expertly designed sounds, supplied in high-quality MP3 + SD and HD WAV formats, meticulously labelled for effortless searching. Each and every audio file in this phantasmal collection has been expertly mixed and mastered to fit into ANY audio environment – just drag, drop, and let the spooky festivities commence!

    MUSIC: WHENEVER, WHEREVER
    ————————————————-
    Each track has been meticulously designed to fit seamlessly into any project, including LIVE EVENTS, CARTOONS/ANIMATIONS, GAMES, APPS, EDUCATION, FILMS, YOUTUBE VIDEOS, HALLOWEEN PARTIES, and more!

    SOUND EFFECTS: STILL HERE? ACCEPT OUR GIFT!
    ——————————————————————————
    With FREE UPDATES, FOREVER! and 35 FREE BONUS SOUNDS from our Best Sellers: Zombie Voices and Blood, Guts & Gore, there’s no better time to scare your audience with this ONE OF A KIND spooky sound pack!

    Hurry! Buy now to prepare the perfect paranormal project in time for next Halloween!

    PERFECT FOR:

    • Video Games
    • Slot Games
    • Film / Animation
    • Ads / Trailers
    • YouTube videos
    • Live Events
    • Sound Design

    …and all other audio-visual productions

    KEY FEATURES: 

    • Huge variety of cutting edge music and sound effects for every spooky scene or situation.
    • Multiple variants and intensities for your convenience and additional edit options (lengths, looping versions and more)
    • Ready to use – requires no editing, labelling or splicing.
    • Categorized, organized and individually labeled files for maximum use efficiency
    • All SFX files are included in Hi-Rez WAV, High-Quality WAV and MP3 formats
    • All music files are included in High-Quality WAV and MP3 formats
    • FREE Updates to higher versions, FOREVER!

    TECHNICAL DETAILS:

    • 510 Sound Effect Files (170 original sounds)
    • 110 Music Files (55 original music tracks)
    • WAV Format: 24 Bit/96 kHz and 16 Bit/44.1 kHz
    • MP3 Format: 320 Kbps
    • Unpacked Size: 1.35 GB
    • Total Run Time: 1h 47m 26s

    INCLUDED PRODUCTS IN THIS BUNDLE:

    • Spooky Halloween Sound Effects Library
    • Spooky Halloween Music Library
    • BONUS #1, Selection from Gore Sounds
    • BONUS #2, Selection from Zombie Voices

    Thank you for your purchase!

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  • Funny / Comedy / Cartoon Cartoon Monsters Play Track 2131 sounds included, 165 mins total $99.99 $74.99

    Delight your users with your very own collection of funny, cute, and silly creature voices to bring all of your characters to life and keep your audience captivated! From big scary monsters to small loveable creatures, from screams and dying to laughing and crying, common interjections like “yes,” “no,” “what,” and even gibberish in fictional languages, CARTOON MONSTERS is the perfect choice to animate the playfulness of any creature your project will ever need!

    If you’re looking for hilarious vocal sounds for spooky ghosts, cute aliens, adorable zombies and more, look no further than this massive library of over 2,130 original high quality samples to give the silly characters in your project unforgettable charm and zest.

    CONNECT WITH YOUR AUDIENCE

    Top animation studios know that exceptional voice acting is key to building strong emotional bonds between audience and characters. That’s why CARTOON MONSTERS relies on professional voice actors to bring dynamic personality to any character in your project, creating lasting impressions your audience will not forget.

    ANY PERSONALITY AND CHARACTER DESIGN

    Whether you need evil spooky villains or pure of heart angels, strong and dominant leaders or weak and cowardly servants, smart and curious observers or stupid and blundering idiots, CARTOON MONSTERS is packed with personalities of all shapes and sizes, with character designs that include giants, Martians, gremlins, mutants, and many more.

    ENDLESS EMOTIONS AND EXPRESSIONS

    This incredibly rich vocal sound library offers every emotion, whether it’s happy, sad, surprised, scared, or angry, while also providing situations like eating, sleeping, attacking, being hit, or even dying. What’s more, included are pitches ranging from squeaky highs to resonant lows with endless forms of expression, like spoken interjections, roars, cries, laughs, and even burps.

    PERFECT FOR:

    • Video Games
    • Slot Games
    • Film / Animation
    • Ads / Trailers
    • YouTube Videos
    • Live Events
    • Sound Design
    • Music Production

    …and all other audio-visual productions

    KEY FEATURES:

    • Huge variety of grunts, shouts, screams, yells, spoken interjections, roars, cries, laughs, and even burps
    • Ready to use – requires no editing, labelling or splicing. Categorized, organized and individually labeled files for maximum use efficiency
    • FREE BONUS – numerous high-quality voice samples from our Halloween Sound Pack
    • All files are included in Hi-Rez WAV, SD WAV and HQ MP3 formats
    • FREE Updates to higher versions, FOREVER!

    TECHNICAL DETAILS:

    • 6,393 Audio Files (2,131 original sounds)
    • WAV Format: 24 Bit, 96 kHz, 24 Bit, 48 kHz and 16 Bit, 44.1 kHz
    • MP3 Format: 320 Kbps
    • Unpacked Size: 1.56 GB
    • Total Run Time: 2h 45m 29s

    Thank you for your purchase!

    25 %
    OFF
    Ends 1566424800
  • Horror Supernatural Ghosts Play Track 262 sounds included, 62 mins total $40

    Supernatural Ghosts provides the sounds of spirits in multiple variations, allowing you to construct entire horror scenes and suggest ghostly presence. To bring you this horrifying library, we recorded and designed human voices, abstract instruments such as the waterphone, thunder tube, harmonica all in 24Bit 96kHz allowing for further manipulation.

    All of the human voices are provided with dry variations to enable you to apply your own effects to taste.

    Here are the included folders:

    Ghostly Breaths: This folder consists of male and female inhales, exhales and angry breaths all with a cold and ghostly performance.

    Ghostly Voices: A collection of phrases by male and female ghosts, perfect for giving a voice to a supernatural being within your scene.

    Ghostly Presence: This category contains haunting ambiances, sure to leave your audience with their neck hairs standing up.

    Production Elements: piercing risers, booming cinematic impacts, ultrasonic and infrasonic sounds, perfect for accenting your most gruesome moments.

 
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