martin stig andersen game audio Asbjoern Andersen


Sound designer and composer Martin Stig Andersen has done excellent game audio on titles such as Inside, Limbo, Wolfenstein II, and, recently, he was part of the sound team on Shadow of the Tomb Raider. In this video, he shares some of his approaches, unconventional techniques – and his favorite equipment:

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  • Game Audio Packs & Bundles War UI Play Track 1764 sounds included, 63 MB mins total $79 $59

    The War UI Sound Effects Library enables you to quickly outfit your characters with pre-built military classes, gear, inventory, notifications, unlocks and alerts. From natural and organic SFX to highly designed and processed epic war style electronic and digital SFX, all assembled into a value-packed comprehensive collection of 1750+ sounds and effects.

    Library highlights:

    • Military User Interface Sound Effects Library
    • Class specific sounds like engineer, infantry, medic, recon, tech/communications specialist
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    • Gear, equipment, health, painkillers, loot crates, and unlocks
    • Game starts, navigations, menu transitions, latches, turns, buttons
    • Designed notifications, killstreaks, skill, upgrades,
    • Achievements, unlocks, purchases,
    • Backpacks, Metals, Liquid, Matches, Hinges
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  • Fun Casual Sounds contains over 600 professionally designed sound effects!

    A perfect collection of fun sounds suitable for all types of sound designers, video editors, game developers or anyone who needs a large range of high quality fun sound effects ready to use out-of-the-box. Great for both quickly prototyping and the finished product. Designed specifically for games, video and other media by award winning sound designers.

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  • Sci-Fi High Tech Interface Sounds Play Track 290 sounds included $30

    Looking for futuristic interface sounds? The High Tech Interface Sounds library is a targeted solution for just that. It features 280 sound effects in categories like Beeps, Buttons, Clicks, Data Processing, Micro High Tech and more – created by Sergey Eybog, who recently won an award for his user interface sound design.

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Featuring over 100 high-quality drones and pads, this sound library evokes unsettling and gloomy feelings – perfect to create spooky atmospheres and tension building soundscapes for your project.

    This package contains layers of mallets, strings, metals, glasses, synthetic and bass sounds, giving your audience the creeps.

     

    The Library includes:

    Drones & Pads  – Creepy, Spooky, Horror, Mysterious

  • Introducing MOTION GRAPHICS, a complete Motion Graphics sound effects library from SoundMorph!

    Motion Graphics focuses on all the elements you might need for sound design on a trailer, a cinematic scene or a visual that is heavy with motion graphics, whether it be abstract or straight forward, Motion Graphics has all the elements and textures you could think of. Motion Graphics are something all of us sound designers run into at one point or another, so this library is an excellent addition to your sound effects tool box.

    Motion Graphics was created by and in collaboration with sound designer Rostislav Trifonov (SoundMorph Elemental library contributor).

    Motion Graphics features 650 24bit/96 kHz .wav files, all meticulously embedded with Soundminer & Basehead metadata.

    The library features:

    • 450 + designed sound effects
    • 190 + source audio files
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    • Textures – noise, grit, glitch
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    • Buttons and Clicks
    • Mechanical Elements
    • Granular effects
  • A library of designed ambiences, drones and background textures. Includes designed winds, underwater sounds and more abstract backgrounds.

    Ideal to help bring your horror or sci-fi productions to life or for any other scenario where you need interesting, moody, dark background textures.
    All files contain extensive metadata embedded in soundminer and broadcast wave formats for easy finding!
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  • City Life California Ambisonic Play Track 158 sounds included, 120+ mins total $120 $90

    Last Summer we visited California State for 2 weeks. We visited and recorded Los Angeles, Santa Monica, Santa Barbara, Morro Bay, Monterey, Carmel, Yosemite and finally San Francisco.

    We recorded in each place, just to save the beautiful soundscapes from the marvelous Route 1, capturing around 40 beautiful tracks in ambisonic format, 48Khz and 24 bits HD. As always, top quality recordings specially designed for film audio projects. The library was decoded and mixed in Dolby ATMOS.

    Included Ambix Ambisonic, 7.1.2 Atmos Bed, 5.1 and ST versions.

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  • City Life Baltic Quad Surroundings Play Track 33 sounds included, 155 mins total $69 $49

    Baltic Quad Surroundings captures the urban sounds of Riga city and its adjacent suburban and rural areas, located in the Baltics, Northern Europe. A Quadraphonic library for your next surround work. Takes are approximately 4 to 5 minutes long or even longer, so that should cover the majority of movie scenes. Please listen to the stereo samples, or download the Quad samples to hear full potential of these recordings here: Quad Recordings Demo

    Since this is our first release, we are also adding a free bonus micro library with quad recordings of passing trains that we encountered during the recording sessions. Enjoy!

    Recorded with a spaced Quadraphonic omni setup.

    The recordings were done in early spring when vegetation has not yet grown leaves, to avoid unnecessary noise pollution. Some recordings are made at night to keep bird activity to a minimum.

    This is the first library that results from a steady need for authentic and realistic surround backgrounds.

    The most common problem we have with surround sound libraries is that they are too exotic, or have too much activity. So, we took matters into our own hands and started to explore different surround recording techniques. Our recordings can be used as a surround soundscape “beds” or layers. This allows controlled additions of other elements to build up the scene and keep the viewer’s focus on the storyline.

    The goal was to record diffused sound field atmospheres and that is where a spaced Quadraphonic Omni setup shines. Human hearing does not rely only on level differences across the frequency spectrum – in fact, our auditory system heavily relies on the difference of sound wave arrival time to each ear. This is especially important with frequencies below 800 hertz.

    So spaced microphones result in more believable sound field recordings than point source recording techniques like MS or other compact systems. The phase is also not an issue, it even decreases as microphones get placed even further apart. The only downside to this technique is the big and bulky rig and that it requires individual wind protection for each microphone.

    Our future goal is to add a dedicated center channel to the recording rig and to start building up way bigger and more sophisticated libraries. Stay tuned for future releases!

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