For Honor sound effects Asbjoern Andersen


Need some good hack-and-slash melee mayhem? For Honor, developed by Ubisoft Montreal, offers several ways to slack your appetite for carnage. Opt to be a Knight, Samurai, or Viking, and play solo in campaign mode, or with friends, choosing from multiple PvP battle options, like one-on-one duels or two teams of four players facing off. For Honor is out now for PS4, Xbox One, and PC.

For Honor audio director Nicholas Duveau, at Ubisoft Montreal, discusses their approach to crafting authentic weapon sounds and recording native-language vocalizations for each class of character. To win a fight, a player must eliminate their opponent using a signature execution move. Duveau share details on how they made that move feel more powerful. He also talks about field recording, Foley, and more!


Interview by Jennifer Walden, images courtesy of Ubisoft


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For Honor: Launch Trailer (Gameplay) [NA]


 

Hi Nicholas, can you introduce yourself and the members of your sound team on For Honor?

Nicholas Duveau (ND): My name is Nicholas Duveau, Audio Director on For Honor. Over the course of the last three years, there have been numerous people involved in the audio of For Honor. The core team was comprised of Martin Lemieux, Olivier Ramirez-Lussier, Hugo Bastien, Yves Breton, and Florent Perrin covering the main audio creation and systems implementation for both gameplay content and cinematics.

We had support from additional audio designers in the last months of the production, namely Jerome Angelot, Francois-Xavier Bilodeau, and Mario Rodrigue. We had a team of four designers: David Noel, Carl Bramucci, David Bridet, and Grégoire Lucas Monteil, who were dedicated to the management and implementation of all the voiceovers.

We also collaborated with our sister studio in Quebec City, where they handled about half of the campaign missions. Their audio team was comprised of Alexandre Fortier, Antoine Guertin, Emily Laliberté, Christian Pacaud, and was led by Arnaud Libeyre.

Not to be forgotten are our two sound programmers Simon St-Gelais and Martin Samuel.
 

Overall, what sort of sound were you going for in For Honor?

ND: From the early stages of conception, even before we could experience the combat in its first playable form, we knew that this game’s immersion ambition was not only aiming for a visceral depiction of historical authenticity, but also had to be true to the common feedback rules of fighting games. We had to make sure the audio served two roles: believability, and understanding.

We had to make sure the audio served two roles: believability, and understanding

What if we knew magic and could obtain recordings captured by boom microphones of an actual battle during the Middle Ages? In what level of rage would these warriors be? Believability is not only a matter of accuracy, of everything sounding right; it has to transcend emotions as well.

We wanted to demonstrate that armed melee combat is, or can be, way more daunting than long-range gun battles. So it was obvious that the “star” element of this game, from both a sound creation and mix standpoint, had to be everything related to the weapons and the characters wielding them.

The fight sounds also needed to convey information to the players. That feedback is essential to understand what just happened and what will happen. Our fight system is based on momentum. The sound needs to help players instinctively identify the right moment to act.
For Honor sound

There are three different factions of warriors: the Knights, the Samurai, and the Vikings. What are the sound characteristics of each faction? What are some of the key distinctions you make with sound?

ND: For all the characters, regardless of their faction, we first defined and produced the realistic layer of their entire move set based on the characteristics of their armor and the accessories they are wearing. Through extensive Foley recording sessions, we played with multiple materials and textures to find the right combination of elements to give the right presence and weight to the characters.

The idea was for the players to actually be able recognize each of the heroes through audio signature-elements they generate

Characterization of the heroes was defined on a case by case basis. For each character we looked for unique elements that made them stand out from the others. We were inspired by the weapon they used, their physical attributes, size and weight, their move set, their cultural heritage, movie references or even the common fantasy of these characters. The idea was for the players to actually be able recognize each of the heroes through audio signature-elements they generate.

Each faction also has their own native language. In specific battle scenarios, you can hear the Knights speak in Latin, the Vikings in Icelandic, and the Samurai in Japanese.
 
[tweet_box]Creating the glorious sound of ‘For Honor'[/tweet_box]

How did you handle sound for the different environments? Are they audible during battle? Or does music take over in the mix?

ND: In the campaign, the music operates as a storytelling function, so it does have a stronger presence in the mix. The nature of the missions provides plenty of breathing opportunities, where the player needs to navigate or accomplish a specific task between the multiple encounters and fights. At those times, the environments become more present. All of this is managed dynamically using mixed presets, like snapshots that are applied in specific moments or locations during the missions.

On the multiplayer side (PvP), things are approached differently. Music becomes more like rhythmic support for the gameplay and provides feedback of the multiple game mode phases and statuses. The fight and the player’s actions are always at the forefront of the mix.
for honor combat

For the attack sounds, do you break those down into separate elements? How did you build the libraries for each part of the attack?

ND: We separated sound elements into those generated by the attacker versus the ones generated by the victim/target. This approach gave us total control over what combination of sounds was to be triggered for weapon (attack) versus armor (impact) contacts, a hit and weapon (attack) versus weapon (block or attack), a block or a simultaneous attack.

This approach gave us total control over what combination of sounds was to be triggered

We also created additional layers of audio feedback to some events, like for the blocks. Since momentum is an important aspect of the fight system, knowing if your opponent did a full or a weak block would be the indicator of momentum for a counter attack or a successful combo progression.

The drawback of this approach is the huge amount of sounds we had to create. They all have been built from original material we recorded during our field recording sessions and some complementing studio Foley sessions.


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What was your approach to the blood and gore sounds?

ND: I think the most challenging part of defining the aesthetics of the gore was to define the limits of the perceptible brutality we wanted to convey without glorifying it. I’ve mentioned earlier the importance of the close-perspective of the combat in For Honor. We decided to avoid the “violence as a pleasure or as a reward” treatment. Of course you can hear slicing, breaking, smashing, and sometimes bleeding, but we made sure these sound elements were as equally balanced as the rest of the combat sound elements. They support the realistic level of the combat experience, while also providing the needed feedback of an attack being a hit or a miss.
 

For the ‘execution moves,’ does each character have its own two unique executions? Do those executions sound distinct from other powerful attacks?

ND: Absolutely. The executions are probably the sets of movements that have the most complex sound arrangements. We wanted them to be spectacular, to really stand out in the mix.

We first covered the visible movements and impacts based on the animations and visual affects applied. All manipulations, displacement, grabs, impacts, gore elements, and body falls are edited and mixed in stereo on the animations. Vocal grunts also have been specifically performed by all the actors and edited for each of the executions.

The executions are probably the sets of movements that have the most complex sound arrangements. We wanted them to be spectacular, to really stand out in the mix

We then create an enhancement layer of the overall choreography (what we call sweetening) using whooshes, specially designed impact sound elements, filters and other impact enhancers in multichannel stereo (4.1). The subwoofer channel is there to support the weight and to exaggerate the impacts.

Those two audio elements (one in stereo and the other in 4.1) are triggered simultaneously. It has to be noted that only the stereo layer is replicated to everyone. The multichannel layer is only audible to the player.
For Honor viking

Any fun field recordings? What did you record, where did you record it, and what mics and recorders did you use to capture the sounds?

ND: For some of my previous projects, I experienced live outdoor recordings of ambiences, guns and explosives. It has always been clear in my mind that, when the conditions are right, recording source material in a live environment can give you the most pure and sometimes unique sounding elements that are just so difficult to reproduce. Even with the insane amount of great plug-ins that are available for us to sculpt our source material, working with something that already has that natural color and perspective you are looking for makes our work not only a bit (just a bit) easier, but so much more pleasant.

So we emptied most of our Foley prop room of anything that we could hit things on and hit things with; we commissioned a blacksmith to make real forged swords, helmets and shields; we bought some fireworks and drove out far into the northern forests to settle down in an isolated cabin. It was early April, still a bit cold but it was right at the end of winter so nature was not awake yet. It was dead silent.

We commissioned a blacksmith to make real forged swords, helmets and shields; we bought some fireworks and drove out far into the northern forests to settle down in an isolated cabin

We did lots of recordings during the day and in the middle of the night, hitting swords, steel rods and many other things, and switching locations to gather various reflections and reverberation.

I mentioned fireworks. When I can, I always record fireworks when location recording. These huge natural slapping sounds are always useful, and if we are lucky, the clouds are dense and low for more slap and delay sounds.

The mic we relied on the most and with which we got the best close-up results was the Electro-Voice RE20. Its large diaphragm made it respond to high sound pressure level nicely. We also got clean high frequency content without any noticeable distortion. We also used two shotgun mics, Sennheiser’s MKH416, and the Neumann KMR81.

Perspective mics we used were the VP88 stereo condenser, the Rhode NT4 stereo condenser, and a Sony D50.

Everything was captured using Sound Devices recorders and mixers.



16 Minutes of For Honor Gameplay


A video featuring 16 minutes of in-game footage

For Honor uses the AnvilNext game engine. Was it a good fit for the sound team?

ND: Anvil, like all game engines, is our window to the game world. Before we actually start creating the audio content, it is where we make every initial decision regarding how the entire environmental audio content will be constructed. Our interactions with this tool have been massive. It is how we place and give perspective to every produced sound.

Most of everything we needed was already available in the toolset of Anvil. It already provided powerful means of defining ambience and reverb zones, through bitmap painting or complex-shaped volumes. We worked with the sound programmers to build a system enabling us to attach sound emitters to generated particles — i.e. arrows, fire projectiles, etc.
 

Any audio tools, plug-ins or processing techniques that were particularly useful for designing the sound on For Honor?

ND: I would say one of the most useful and creative tools we got to use extensively was Whoosh by Melted Sounds. It is a plug-in used within Native Instrument’s Reaktor to do what we can call “Motion Design” — using Doppler and chains of filters and effects to create movement.

I would say one of the most useful and creative tools we got to use extensively was Whoosh by Melted Sounds

We did a “live-record” of lots of whooshes using poles and sticks of different material and length. But this plug-in turned out to be very useful to sculpt most of the weapons’ signature movement layers.
 
 

What were your favorite sounds to design? Can you share specifics on how you designed them?

ND: I would definitely say the weapons sounds. With the large variety of weapons we have in For Honor, we had true creative opportunities to make them very distinct and give them a true signature. These are the elements on which we spent the longest time and iterated the most.
I mentioned earlier that the weapons were the “star” of the game as far as sound is concerned; they had to be the most fascinating elements to produce.
for honor warlord combat

Creatively, what was the most challenging aspect of the sound on For Honor? Why? What was your solution?

ND: Again, the weapons. Producing a massive quantity of specific assets for a very large variety of weapons was a great challenge. We also had to address potential hearing fatigue for the players who could spend hours playing this game, and also for us, who spent hours in isolated rooms creating and polishing each individual resonating sword hit sound. That was a true physical challenge.
 

Technically, what was the most challenging aspect of sound? What was your solution?

ND: If that question was asked 15 years ago, I would have said fitting everything into the allocated memory, without a doubt. Now that it is not a real issue for all the departments, I would say today’s greatest challenge is keeping up with all of the other department’s content ambition. We are all glad that today’s consoles give us more RAM and hard drive space and more computing power, but more of everything literally means more of everything. So the real challenge today has to be one of management and communication.

I would say today’s greatest challenge is keeping up with all of the other department’s content ambition

Fortunately, we could count on a solid team of managers and coordinators that were ensuring that everything was tracked so we could refer to their updated status as often as we required. Obviously things change and by definition, these changes are meant to make the game better. So knowing about these changes in time means that we get to say “no” less often. Which is always a good thing.
 

What are you most proud of in terms of the sound for the game?

ND: Without a doubt, the weapons’ sounds. I do think that we have achieved a great level of artistic realism in how the combat sound choreography performs. In everything we do, we always try to be as accurate and authentic as possible. If you close your eyes and can say that what you hear totally makes sense rhythmically, in its perspective and its dynamics, then it means that we nailed it. If you also can say that you were emotionally involved in any way through what you heard, well, it then means that we nailed it even more.
 

A big thanks to Nicholas Duveau and team for the story behind the sound of ‘For Honor’ – and to Jennifer Walden for the interview!

 
 

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    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

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  • FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
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    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

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    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

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    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

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    The sound effects are all recorded in 24bit 96khz down to 16bit 44.1khz. These sound effects have been used in many productions such as feature films, video games and all types of broadcast.

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  • Hand Combat Sound Effects Violent Combat Play Track 4213 sounds included From: $135 From: $108

    THE RAW SOUND OF CINEMATIC FIGHTING

    VIOLENT COMBAT is a professional sound effects library built for fight scenes that demand impact. Packed with punch sound effects, fight sound effects, and powerful combat sound effects, it delivers everything from raw realism to over-the-top cinematic action. With improved fidelity and greater variation than its predecessor CLOSE COMBAT, this collection gives sound designers production-ready audio for film, TV, and games.

    Violent Combat | Sound Effects | Trailer

    From Realism to Cinematic Exaggeration

    Dial in the tone you need with dedicated categories: Martial Arts, Grounded, Over The Top, and Gory. Whether it’s kung fu sound effects, karate sounds, or exaggerated wrestling hits, you can shift seamlessly from authentic to stylised.

    Successor to Close Combat

    VIOLENT COMBAT builds on the legacy of CLOSE COMBAT with higher fidelity recordings, better-organised categories, and more variation. It’s the ideal companion, giving you the flexibility to cover every style of fight scene.

     

    Sounds That Land With Force

    Recorded with a wide range of props and techniques, each fighting sound effect has real weight. Where needed, selective pre-processing boosts impact, avoiding the flat results of real fight recordings.

    Production-Ready and Versatile

    Equally at home in film, TV drama, high-end game audio, or immersive theatre. From knockout sound effects to stylised fight sequences, Violent Combat is ready to drop straight into your mix.


    Included Sounds – KEYWORDS

    AIR, BODYFALL, CLOTH, CRUNCH, FINISHER, FURNITURE, GORE, GRAB, GRAPPLE, IMPACT, KICK, LEATHER, MARTIAL ARTS, METAL, MOVEMENT, PLASTIC, PUNCH, SLAP, SWISH, SWOOSH, THROW, WHOOSH

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  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

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  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

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  • 638 meticulously processed stereo fire 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 fire spells. It also includes source sounds for more flexibility for your projects.

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

    The library is fully focused on fire spells. You will find simple one shot magic firebolt, powerful high level fire spells, fire sword, berserker enchantments and so on. Spells such as fireball,  firewall, rain of fire, meteor, fire nova, magma storm, pyroblast, sword of Avernus, etc. are included in this library.

     

    THE ARCANE FIRE SPELLS
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  • Immerse yourself in an atmosphere of natural power and tranquility with the “Rain and Thunderstorm” sound collection, consisting of 4 Vol-s.
    This collection features a variety of looped sounds: light rain, night rain with loud thunderclaps, and other effects that will help you create the perfect atmosphere – from a quiet, secluded night, long scenes, or endless atmospheric effects without abrupt transitions, to a dramatic thunderstorm on the horizon.
    The recording was made by a Zoom H3-VR recorder in the Ambisonics A format (96 kHz 24 Bit) and then converted to the AmbiX and Stereo formats (96 kHz 24 Bit), which are located in different folders of this sound pack.


   

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