Game Audio Glossary Asbjoern Andersen


There are lots of disciplines involved in game development - and figuring out how they relate to your work in game audio can be a bit of a challenge, especially when you're just starting out. To help give you a better understanding of the various roles in relation to game audio, Ashton Mills has written an excellent, straightforward glossary, and he's kindly allowed us to share it here on the blog:
Written by Ashton Mills and reprinted with his permission
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Speaking the game development ‘language’

I often get contacted by people who are interested in getting into game audio for some advice on starting up and moving forward which is great, and although I’ve only got a few years under my belt, I’m keen to attempt to help where I can because I was given so much fantastic input from the game audio community when I was trying to get my foot in the door. I believe that language is at the core of everything we do in life, and so much of learning, whether it’s a new skill or a craft we’ve been honing for many years, is speaking the ‘language’ of that subject.

For working in the games industry this includes specific game-dev-related terminology but also an understanding of how all the bits fit together. This is often overlooked by aspiring audio folks in favour of focusing on the development of the hard skills you need to do the craft. But game development is a multi-disciplinary field, and thus a great deal of communication between different teams is required make games happen.

Understanding of how all the bits fit together […] is often overlooked by aspiring audio folks in favour of focusing on the development of the hard skills you need to do the craft

Thus, a big part of being experienced is actually about having the language to communicate with people. You pick so much of this language passively when you start working in a studio, but it’s actually very important to have a grasp of some it in the early days of your journey into the industry so that are able to have conversations and connect with people.

It can be hard to learn the language on your own, because you need to hear people use words and phrases that you don’t know before you can look them up: you don’t know what you don’t know. I though it might be interesting and helpful to put together a bit of a glossary of terms, things and job roles, and how they relate you as a game audio professional. I’ve ambitiously put ‘Part 1’ in the title in the hope that I’ll have the time to do other parts, with a few different glossaries that go over different areas. This first one is about disciplines other than audio, and how what they do relates to your role in sound.
 

Game Development roles and how they relate to audio

This is based on my own experiences. Different companies work in different ways, and even different game teams within the same studio will differ in how they work and how there are structured. This is more focussed on mid to large sized game studios rather than small indie teams where you have a small number of people wearing loads of hats. It is worth noting as well that of course all disciplines relate to all other disciplines in some respect, but I’ve outlined the key ones that come up in relation to the day-to-day life of an in-house game audio designer. If you work in one of these disciplines and my description of your role is offensively over-simplified: my apologies in advance!

 

 

Game Designer:

 

The Game Designer’s role in game development: These folks work on the core fabric of the game. Their work defines what all the other creative and technical disciplines will do. On a high level they will do things like decide on direction and vision of the game, design puzzles, combat systems, character classes etc. On a lower level things like how much damage a weapon does and what it looks and sounds like, how fast your character moves, the layout of the controls etc.

How it relates to game audio: A huge number of decisions made by game designers will inform your work as an audio designer. They will be the go-to person to discuss what things need to sound like and in many ways your role is to bring sound to their vision of the game.


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VFX Artist:

 

The VFX Artist’s role in game development: They make all the pretty stuff that pops up on screen: explosions, muzzle flash, little puffs of debris behind players’ footsteps, bits of highlighting to draw your attention to things, magic spells etc, numbers that popup on screen to show how much damage you dealt etc.

How it relates to game audio: There is a very close link between VFX and audio. What one does will heavily influence the other, and they tend to go hand in hand. This means to need to be communicating a lot to coordinate what you’re doing, and negotiating access to the files as you’re often needing working on the same things around the same time.


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Localisation:

 

Localisation’s role in game development: Translates the game into different languages.

How it relates to game audio: If your game has localised VO, obviously you’ll need to work with the loc team. Even if there’s only one language voiced, if you end up editing any scripts in VO sessions, the loc team will need to know so they can edit the subtitles.


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Animator:

 

The Animator’s role in game development: They make game object move.

How it relates to game audio: The link between animation and audio is crucial. The majority of SFX in game (in everything I’ve worked on at least) are triggered from animations. For that you’ll need write access to animation sequence files so you need to negotiate with animators as you might not be able to work on the same files at the same time. For most things it’s not possible to do a proper audio pass until you’ve got the animation for the respective job, and if that animation changes at all you need to iterate on the audio again so that everything stays in sync.

TL;DR: get to know the animators well because you need to communicate a lot.


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Narrative Designer:

 

The Narrative Designer’s role in game development: They write the dialogue and the stories and the lore of the game.

How it relates to game audio: If your audio design role involves working on VO then there is back-and-forth with narrative designers, from higher level things like casting characters and helping to decide on game hooks for dialogue trees down to them sitting in on VO sessions to help actors with how to pronounce and deliver the dialogue they wrote.


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Producer:

 

The Producer’s role in game development: Organises and manages the pipeline, so that everybody is working on the right things at the right time. Uses a project management tool (JIRA) to oversee what everybody is up to and keep things moving forward.

How it relates to game audio: As an audio designer your work on a game will need to be broken down into potentially thousands of smaller tasks, and for many of these you will be depending on somebody else to finish their work before you can start yours. Producers are there to minimise any blockers and make sure everybody can work effectively on whatever is the highest priority at the time, and manage deadlines and the break down of projects into manageable chunks.


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


Trending right now:

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

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
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    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

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

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

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    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

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    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.

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

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

    WHAT SOUND PROFESSIONALS SAY:

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

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

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

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

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

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

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

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    OFF
    Ends 1719266399
  • The whole 9 yards.
    Comprised of seven heavy hitting libraries, this bundle includes INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all SEVEN in a single library.

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


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


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


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


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


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


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


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Need specific sound effects? Try a search below:


 

Quality Assurance (QA):

 

Quality Assurance (QA)’s role in game development: Tests all the content that goes into the game and makes sure everything is working as intended, and to feedback their findings to the appropriate person (programmer, designer, animator audio designer etc). These people are the lifeblood of the game, never underestimate their importance and expertise.

How it relates to game audio: When you finish a task QA will then need to check it to make sure you’re doing what you intended to do. You need to communicate with them to let them know how to test your work and what the acceptance criteria are, and they need to communicate with you with feedback and if there are any bugs or omissions in the audio. Some companies have dedicated audio QA but most of the time this is not the case. The better your relationship with QA, the better the end result is going to be.


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Gameplay Programmer / Audio Programmer:

 

The Gameplay Programmer / Audio Programmer’s role in game development: They write and maintain the code that makes the game (/audio) work.

How it relates to game audio: Every sound you make will need to be triggered by the game code in some way, regardless of whether you use middleware or not. Programmers will help you make that happen. Even if your implementation skills are really hot and you can hook up everything yourself using code/visual scripts or animations, you’ll likely still have a lot of dialogue with the programming team because they will have an overarching vision on how to keep the game code clean, efficient and reusable. An audio programmer is dedicated specifically to supporting the audio team, whereas gameplay programmers will be supporting you alongside all the other things they do. Audio programmers often come with other audio code skills beyond implementation as well such as DSP and building tools to improve the audio pipeline, and you will love them dearly.


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Engine/Tools Programmer:

 

The Engine/Tools Programmer’s role in game development: They write and maintain the code that makes the software that everybody else uses to create the game.

How it relates to game audio: A tools programmer might create the application that you use to sync audio to an animation, or to place sounds in a game level for example. An engine programmer might be working on the deep-level stuff to do with how audio plays in the game. You’ll have much more of a relationship with this team if you’re using a proprietary game engine rather than a third party engine but even if you are using Unity or Unreal your paths may cross as bugs and issue come up, or for utilising more advanced middleware features, debugging or making custom tools for your workflow.


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Community Management (CM):

 

Community Management (CM)’s role in game development: They talk to the players, manage social media and generally are the public face of the game team.

How it relates to game audio: Game communities of today have an appetite to see what happens behind the scenes and discuss the game with its creators and this can sometimes mean there being a dialogue between players and the audio team. Examples from my own experience include appearing on company live streams and panels at live events to discuss all things audio, taking questions from players through an exclusive forum for prime members and chatting to players when they come in for tours around the studio, all organised by the CM team.


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Video/Marketing:

 

Video/Marketing’s role in game development: Makes the videos and trailers that get released to the world promote the studio and its products.

How it relates to game audio: These videos will need audio! The audio team is responsible for every noise that comes out of the company. Some studios have dedicated post-production audio people to work on the ‘linear media’ (i.e.: not the in-game audio) and some have the game audio team working on this content. Either way there is often a strong relationship between the two teams.


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Environment Artist:

 

The Environment Artist’s role in game development: Making the props and scenery that go into game levels.

How it relates to game audio: If you’re working on ambience then what the environment artists make and where they place it will inform how you design the audio. You’ll both need to have write access to the map files for quite a long time in order to place your objects in, and usually these are locked so that only one person can edit them at a time, so I’ve found environment artists to be another one I need to communicate with a lot so that we don’t block each other, and if you have a good rapport with them then they will be more likely to inform you if they make any audio-breaking changes such as moving or removing things you’ve mapped audio down for.


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Concept Artist:

 

The Concept Artist’s role in game development: They take the designers’ words about how things in the game should look and turn them into pictures that the rest of the art team (character, environment, VFX artists and animators) then use as a reference for their work. This is everything from weapons and environment props to creatures and players.

How it relates to game audio: Often (as always I’m talking from my experience) the rest of the art work on a particular job will be done before you start working on the audio, so you have completed models with animations and VFX all ready to go to design sound to, however it happens a lot that you need to be designing, or at least starting to design sound for things at the same time as the art team are doing their stuff. Concept art can be extremely helpful in giving you inspiration and reference for the sounds you need to make.


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I hope this has been helpful. If you have any questions, or if you feel I’ve missed something or what I’ve written varies quite a lot from your experience then feel free to get in touch at ashton-mills@outlook.com

A big thanks to Ashton Mills for letting us share this glossary!

 

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More about Ashton Mills:

 

Ashton Mills is an Audio Designer at Jagex, a game studio based in Cambridge UK, where he works on soudn design, VO and implementation across a range of game projects. (All thoughts and opinions are his own and not that of Jagex.). Learn more about him on LinkedIn here, and on Soundlister here.

 

 



Power Lists - essential audio resources and insights:

• The Sound Design Power List

• The Game Audio Power List

• The Film Sound Power List

 
  Succeed in sound:

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

• 10 Essential Tips for Game Audio Freelancers

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

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

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

• 5 Useful Tips for Upcoming Sound Designers and Sound Editors

• Sound Opinions: How to get game audio pricing right

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

• Rebuilding your studio: Goals, tips and lessons learned

• Creating audio for games – with Martin Stig Andersen

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

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

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

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

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

• 7 Sound Alternatives to Working For Free

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

 
 
The sound success series:

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

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

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

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

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

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

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

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

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

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

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

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

 
Breaking into audio – guides and resources:

• The ‘Quit Aspiring’ book – by Adam Croft

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

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

• 4 Effective Ways to Break into Game Audio

• Tips for Creating a Perfect Resume for Audio Industry Jobs

• Yet Another Game Audio Hiring Article – by Ariel Gross

• 5 Tips for Getting a Job in the Audio Industry

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

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

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

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

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

• Get the weekly Audio Jobs newsletter

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

• Upload your demos to Soundcloud

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

• Find interesting audio events around the world

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

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

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

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

• What To Do Before and After Being Laid Off

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

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

• Hear the very best podcasts about sound

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

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

• Browse 100+ Sound Design Guides

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

• Get tips and ideas for making your own sound effects

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

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

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

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

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

• How to create an indie sound bundle

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

 
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  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $39.50

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Presenting the most malfunctioning, dirty old gritty sounding engine failure library out there

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    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

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  • ACOUSTIC GUITAR FOLEY FOR YOUR PROJECTS
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  • The Drawers & Cupboards SFX library is an essential collection for professionals seeking high-quality sound effects for their projects. This library features 63 meticulously recorded sounds of opening, closing, and rummaging through cupboards and drawers, making it perfect for game developers, animators, and filmmakers.

    This library offers a diverse range of sounds, including:

    • Opening and closing cupboard doors
    • Picking up glass bottles
    • Rummaging through various materials (glass, mixed materials, containers, plastic)
    • Metal and wooden drawers opening and closing
  • Car Sound Effects Broken Car Engine Play Track 5 sounds included, 28 mins total $27

    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.


   

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