Li & Ortega sound collaboration Asbjoern Andersen


More game audio veterans are teaming up to form an independent, full-service game audio company - and here, the five-member team at Li & Ortega talks about their decision to join forces, and what companies like theirs mean for the game sound industry.
Interview by Jennifer Walden, photos courtesy of Li & Ortega
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In this interview, we catch up with the award-winning team at newly-formed, full-service game audio company Li & Ortega — Business Director Xiao’an Li, Audio Director Mark Kilborn, Sr. Sound Designer Stephan Schutze, Music Director Dr. David Ortega, and Voice Director Alex Brandon.

Their collective work history includes a wide variety of games like Call of Duty WWII, Just Dance Disney Party 2, Deus Ex, Skyrim, Pop Slots, Borderlands, DC Universe Online, and more.

Here, the Li & Ortega team shares insights on what they can offer their clients, how they draw on each other’s talents and collaborate remotely, what they’d like to see for the future of their company, and how the game sound industry is changing.

The team at Li & Ortega

The team at Li & Ortega – from left: Stephan Schutze, Xiao’an Li, David Ortega, Mark Kilborn, and Alex Brandon

Please introduce yourselves and highlight some of the key projects you’ve worked on individually. How did you come together to form this team?

Mark Kilborn (MK): I’ve worked in-house most of my life, although I got my start as a freelancer working with Matt Piersall in the pre-GL33k days. I’ve worked for Bizarre Creations, Gearbox, and Activision. Some of my favorite titles over the years were Brothers in Arms: Hell’s Highway, Project Gotham Racing 4, Forza Motorsport 3, Call of Duty: Modern Warfare Remastered.

I’ve known Stephan [Schutze]and Alex [Brandon] for a number of years, and when I told them I was going freelance they asked if I was interested in joining up with the crew, so here I am.

Alex Brandon (AB): I started as a freelancer in 1994, working on Unreal, Unreal Tournament and Deus Ex among other projects. Then I went in-house working at Ion Storm, then Midway, then Obsidian, then Heatwave Interactive, until I went freelance again in 2010 as Funky Rustic.

I’ve collaborated with several groups but never had much success with the group alliance effort. But Xiao’an [Li] and David [Ortega] have a different approach that was a lot more organized and structured. So on invitation, it was easy to accept!

I knew all of these amazingly talented individuals and it occurred to me that we could do some really cool things if we worked together.

Stephan Schutze (SS): I have worked both in-house and as a freelancer. Over the years, I’ve worked in most areas of audio production. I composed the first live orchestral score for a video game produced in Australia (Jurassic Park Operation Genesis); I have produced sound libraries that are used by all the biggest production studios globally, and I wrote the first book on Audio Production for VR and AR.

I knew all of these amazingly talented individuals and it occurred to me that we could do some really cool things if we worked together. So at GDC, we started to talk about the possibilities.

David Ortega (DO): Beginning around 1999, I scored several Nickelodeon-based console games for THQ, and then connected with Disney Mobile just as smartphones began to appear on the scene. The Where’s My Water? suite of mobile games were a blast to write music for. I was also working for Ubisoft, writing original and cover songs for their Just Dance franchise between 2009-2016. Dreamworks also asked me to provide music, VO, and sound effects for 25 animated shorts, in collaboration with IKEA. That was super fun.

Xiao’an Li (XL): I’ve worked on a number of mobile projects as a composer, including games by King and Playstudios, and games based on IPs from NBCUniversal and FOX (Futurama, King Kong, etc).

David and I teamed up some time back as our musical styles complemented each other and allowed us to take on a wide range of genres. Stephan, Alex, and I have been friends for a while, and we spoke after GDC this year to talk about teaming up to offer our services collectively as a full-service outsourced audio solution.
 

Why should game studios choose to do their sound work at a specialized game audio company like Li & Ortega as opposed to working in-house? What are the benefits for them?
XL: This is by no means a comprehensive list of the advantages, but a few that have come to mind:

• Working with an outsourced team spares studios the capital outlay of setting up audio workspaces and purchasing expensive gear, since contractors like ourselves come equipped with everything they need. This means studios need not worry about insurance, and tech obsolescence. More to the point, they can greatly reduce their hiring needs, which takes care of concerns such as employee training, turnover, and HR issues.

• We are all familiar with the fact that audio teams typically ramp up their hours toward the end of the game development cycle. Working with contractors that offer scalable and flexibly structured arrangements allows companies to scale their operations only when they need to.

• It is also very useful to bring in an external perspective since working on the same game day-in and day-out can affect objective judgement. Someone that has not been working on the game for the last 2 years (for example) can bring a much-needed infusion of fresh perspective.

SS: It means a studio can engage us for the things we do best. Within our group we have skills and experience across a wide range of areas within audio production. So it makes sense to utilize our skills in an area that the in-house team may not be familiar or confident working in.

Also, when game companies need to cover the “hump” periods at the end of development or in preparation for events such as E3, instead of hiring more staff that they may not always need, they can engage an external team to pick up the extra workload that needs to be covered.
 

Being able to set one’s own hours and work from home has wonderful benefits for mental health, and working on a variety of projects keeps us sharp and current.

What are the benefits for your team to be independent and not tied to one game studio? Creatively? Financially?

XL: Everyone on the team is married, and more than half of us have young children. In the last two years, more than a few game studios have been known to have poor work/life balance, in and out of “crunch.” Being able to set one’s own hours and work from home has wonderful benefits for mental health, and working on a variety of projects keeps us sharp and current. It might not be quite as lucrative as working as an audio director in some of the biggest game companies, but it’s a tradeoff.

It’s a bit scary to go out on your own, but I’m thankful to have joined up with this group.

MK: Everything Xiao’an said above. Work/life balance and mental health were huge influencers for me in particular. I spent almost a decade in a cycle of crunching every Fall and shipping every November. It was taking a serious toll on my well-being and my family. I was burnt out and definitely not doing my best work for a while there. But my wife and I planned this leap for about three years — we saved up enough cash for a runway; we built out a home studio for me to work in, and acquired enough gear to essentially have a small audio department in our house. It’s a bit scary to go out on your own, but I’m thankful to have joined up with this group. And from a financial perspective, the business has taken off pretty quickly. I’ve been working steadily since April on a project that’s a couple years out; the clients are some old industry friends of mine, and it’s been a wonderful change of pace.

AB: When working with a single company, typically, the projects are all very similar. And creatively that gets stifling. I can remember once Deus Ex: Invisible War was released I had worked on first-person games straight for at least 8 years. I was ready for something else. Working on multiple genres greatly helps problem solving skills as well, as Xiao’an indicates.

SS: Much of this has already been said, but variety is a huge aspect of this. Right now, I am writing articles for an audio magazine, recording content for Rode Microphones, working on a VR linear film, building my own sound libraries and working with Alex. This is certainly nice from a variety point of view, but the most important benefit is that it refines and polishes a huge range of skill sets. One of the biggest disadvantages of working long term in a studio is that you fall into a routine, you can lose your edge or even become bored working on the same content. That never happens to us.

DO: I also happen to be a practicing clinical Psychologist, so as my colleagues have mentioned, mental and physical health is tantamount to feeling fulfilled in any endeavor.

We also flexibly pass off work to each other as bandwidth permits — the goal eventually is for everyone to keep everyone else busy.

Learn more about the team:

Want to know more about Li & Ortega and the services they offer? You’ll find their web page here, and you can also meet them on Facebook here, and on Twitter here

With Li & Ortega team members not being in the same physical location, what are some of the tools and approaches you’re using to collaborate? And why did you choose the remote collaboration approach rather than getting an office together somewhere?
XL: We are in constant contact on Slack, not just for work, but to build camaraderie. David is a trained and practicing clinical psychologist, so he has excellent insight into building and maintaining productive relationships. We don’t use very many fancy collaborative tools, just Slack and Monday for the moment. What matters is consistency and honesty.

Alex lives in Texas, Mark lives in Wisconsin, Stephan lives in Australia, David lives in Boston, and I will be located in Singapore quite soon. For us to all move to a single office location would be impractical and also erase our unique advantage of covering multiple locations and time zones.

We can be more competitive with our pricing and still deliver the same level of quality as a team with a central facility because we don’t have the overhead of maintaining a space that we frankly don’t really need.

MK: We also avoid the overhead of having a studio facility, which is a big deal for a business like this. It makes no sense for us to take on that overhead when we have well-treated spaces in our own homes to work in. I did some Foley recording on Call of Duty: WWII out of my room here, so my space is very capable for just about anything I need. The rest of the team is set up similarly. If we need access to larger facilities for things, we have existing relationships we can tap — a dub stage, Foley stages, larger VO facilities for ensemble recordings, etc. We can be more competitive with our pricing and still deliver the same level of quality as a team with a central facility because we don’t have the overhead of maintaining a space that we frankly don’t really need.

AB: Aside from the reasons already given, remote contracted work makes the most sense financially and efficiency-wise, whatever anyone tells you. The tools to develop and internet speeds are sufficient to convince a co-worker you might as well be in the next room. And you work when the work is needed. Quite a few successful developers I know take this approach also.

SS: Because I am in a different timezone (Australia) I can essentially function as a night shift. If we have a super demanding schedule, then between the three time zones our team covers, we can essentially work 24 hours straight with no one individual having to work extreme hours. So we work reasonable shifts, but the client gets the huge benefit of continuous workflow over an entire 24 hour period.


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How do you scale on demand? Do you have additional talent you can bring in as needed?
XL: The team has been in the industry for quite some time and we have a wide network of very talented friends that we can call on for many tasks, if we need to.

DO: Our approach is a bit different; we are not about securing and keeping every scrap of work we can. We would rather sub work out to someone who’s amazingly fit for the job, if it feels right. It puts our best foot forward, keeps the client happy, and sows seeds for good karma in the audio industry.
 

What current trends do you see in the game audio industry? And where do you think it’s headed five and 10 years down the road? Do you see a growing trend for working at independent game sound studios?
XL: If the prices for game audio services follow the same trend as the last 10 years, things in the industry may get tight financially, as more global players with lower costs of living enter the marketplace and gain competitive experience.

The growth of the game sound industry is largely dependent on the growth of the game industry, and the parallel growth of technological tools that make our work easier to do.

The growth of the game sound industry is largely dependent on the growth of the game industry, and the parallel growth of technological tools that make our work easier to do. Library music, for example, has disrupted the custom music marketplace for a while now, and has greatly lowered costs while increasing freedom of choice. We are now seeing the emergence of audio tools that help sound designers create variation of sound effects effortlessly. It’s hard to say what this means for game audio in general, but it behooves us to watch carefully.

MK: I expect the major studios will always maintain in-house staff, but I see those teams getting smaller and relying more on senior talent, and outsourcing more of the work. I see some studios already moving to this model. A lot of publishers want to get more done with less money, as Xiao’an said, and they want to reduce the number of full-time heads they’ve got on their books. So that creates an opportunity for folks who can help fill in the gaps with lower overhead. And with wider access to tools like UE4, Unity, Wwise and FMOD, it’s easier to ramp up external content providers. Teams stuck with archaic, proprietary pipelines will have a harder time with this.

I’ve felt for years that game sound is a very crowded market, and I still do. But I’m hoping that the move to subscription based models (like Xbox Game Pass, Apple Arcade, etc.) will lead to a resurgence in mid-tier projects with reasonable budgets, and that those will create more opportunities.
 

A Sound Effect has been talking about surviving a layoff in game audio. Do you think game sound studios like Li & Ortega will be less affected by the wild employment swings of the game industry?

XL: This really depends on the business strategy of individual studios. If studios put all their eggs in one basket, having that one big client undergo a layoff or closure will necessarily lead to these independent game sound studios having to lay off their employees or shut their doors unless they have a source of financing.

There is no stability in the game industry. It simply doesn’t exist.

MK: I think we’ll be less impacted as long as we diversify our income streams, and that’s something we’re doing. The general best practices of being a freelancer apply to us — have an emergency fund, save during the feast times so you can survive during the famine times, etc. Although I believe that’s sound advice for anyone working in the game industry, freelance or in-house. There is no stability in the game industry. It simply doesn’t exist.

AB: It is precisely the hires and layoffs that take place all the time that reinforces remote contracting as an option. The longest in-house position I had was 4 years. Since I went freelance I have been able to maintain for nearly 10 years.

DO: As Mark said, it’s about diversification of income streams, and also diversity of the audio gigs themselves. We have no intention of confining ourselves to the game industry. Everywhere you look there’s sound — opportunities abound.
 

… it’s about diversification of income streams, and also diversity of the audio gigs themselves. We have no intention of confining ourselves to the game industry. Everywhere you look there’s sound — opportunities abound.

Any advice for other game audio pros considering their next move in game audio? Do you think it’ll be feasible for individual game audio pros to continue working on their own, or is teaming up a necessity?
XL: Personal brand and brand visibility are probably the most important things to focus on once you have a respectable reel. Teaming up may not be a necessity, but it depends on the jobs one wants to take on. If a game company wants a single solution for music, sound effects, and voice, then yes, teaming up to get the gig is probably prudent. However, many composers are doing just fine on their own.

MK: Always be working to improve your skills. Network by making friends and being an authentic human being. Focus on ways you can give to the community rather than what you can get from it. Help others whenever you are able to. Treat your competitors as your friends. Game audio is a community of mostly wonderful people, and if you invest yourself in the community, the community will help you succeed.

… forming a group means you can have a lot more to offer than any one individual ever likely can.

SS: We all have to find or build something that differentiates us from all the other options out there. What can our group offer that others cannot? So forming a group means you can have a lot more to offer than any one individual ever likely can.
 

What would you like to see for Li & Ortega in the near future? How would you like to see your studio grow?
XL: Ideally, we’d love to work with folks from everywhere, and on a variety of project sizes. We’d prefer to only grow where absolutely necessary, and keep our fixed costs consistent.

MK: I mentioned diversifying income streams above. That’s an area where I’d like to see us grow our offerings, and we’re currently working diligently behind the scenes to do just that.

SS: I have a range of different income streams I have developed through Sound Librarian. I am working to make those opportunities available to other members of this team. Other than that, I have a small bucket list of projects and IP I would one day love to work on; maybe this group will be the key to achieving some of those wish list goals.

I can imagine a slightly larger team, but I also imagine there’s an upper limit to the size when you’re a distributed collaboration.

DO: I can imagine a slightly larger team, but I also imagine there’s an upper limit to the size when you’re a distributed collaboration. As Mark said, I would love to see us expand laterally into other audio spaces beyond games. We’ve done some of that, but there’s room to do more.
 

Do you have any projects in the works you can share some details about?
XL: We recently worked on Pagan Online, which was released August 27 at Gamescom. Stephan and Alex have been working on System Shock 3, and David and I are continuing to write music for our client of 3 years, Playstudios, on 2-3 mobile and web releases each quarter. Mark? That’s a secret ;)

A big thanks to the team at Li & Ortega for the story behind their new company – and to Jennifer Walden for the interview! Learn more about the team and what they have to offer here

 

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

  • Cinematic & Trailer Sound Effects Four Elements – Elemental Magic Play Track 3050 sounds included, 251 mins total $112.49
    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.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • 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.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • 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.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    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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  • Bicycle Sound Effects Skid and Drift Play Track 755 sounds included, 78 mins total $56

    Are you looking for skid sounds for your next action movie? Well, this sound library is made for you.

    “Skid and Drift” is the result of 4 years of recording work. It is a complete collection of skids from various vehicles, recorded from multiple perspectives, on all types of surfaces, and in high quality (dirt, dry and wet concrete, gravel, etc.).
    You will find skids from race cars recorded during the French National Drift Championship, skids from go-karts, motocross bikes, bicycles, skateboards, ice skates, rollerblades, as well as foot skids.
    These sounds were recorded in both stereo (XY and ORTF position) and mono, depending on the case, using the following microphones: Schoeps CCM4, Neumann U87, DPA4061, Lom MikroUsi. All sounds are recorded in 24-bit. The sampling frequency is 48kHz for scuffing footsteps sounds, and 96kHz and 192kHz for other recordings.

    The metadata is precise and complete. All sounds are in UCS format.

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  • Mechanical Sound Effects MicroMech Play Track 1800+ sounds included, 72 mins total $40

     MicroMech is an expressive collection of tiny, non-motorized mechanisms.

    Recorded by Nathan Moody in great ultrasonic detail, this collection of quiet and delicate sounds can become robotic limbs or fingers, weapon mechanisms, gun reloads, crafting or equipping sounds in a game, high-tech gadgets, superhero armor, clockwork steampunk artifacts, door latches, or any other metallic articulations you can think of.

    It pairs perfectly with Studio Obsidian’s Analogue Ordnance library for high-tech weaponry mechanism sounds.

    An hour of clicks, rattles, ratchets, trills, clacks, and slides will fill your sonic projects with mechanical filigree and mechanized finesse. Props include antique and vintage cameras, can openers, dictaphones, high-end fidget toys, and much more. Each recording in MicroMech has many performance variations, making them perfect for game audio projects.

    All sounds were recorded dry with a hypercardioid microphone and an ultrasonic-capable omni microphone into Millennia preamps, blended together for a punchy, full-range tone while preserving ultrasonic content.

    Get big sounds from small sources with MicroMech!

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Car Sound Effects Golden State Mustang Play Track 130 sounds included, 28 mins total $44.71

    This sound library is a collection of various actions with game audio in mind from a Ford Mustang 2021 Ecoboost convertible, recorded in parts of rural California in November 2024.

    The Mustang features a 2.3L Inline-4 (I4) turbocharged engine, which was quite the character captured with a lot of emphasis in the multichannel recording session.

    For help to record this beauty I enlisted the aid of my friend Diego Hodge who helped with both his arsenal of microphone options, rigging up the ‘Stang, and planning for the session. You can learn more about Diego’s work here: https://diegohodgeaudio.com/

    The library contains captures of idling, all the way up to 5000 RPM and beyond. Both single rev cycles as well as laying on the pedal for a consistent, sustained loop was a key part of our capture log. We even tried some sporadic flares of the engine in the style of Fast and the Furious, so your scene/game can be complete with that classic aggressive turbo-charged muscle sound to signal to the competition that you mean business.

    For the rest of the session, we captured some burnouts, some close-miked details of the tire on dirt roads, the classic passbys at various speeds, as well as the typical foley and actions associated with vehicles: doors, windshield wipers, buttons, etc. The microphones used: Clippy EM272M and Primo EM258 capsules from Micbooster for the car interior, a pair of Tascam TM-78 condenser mics in the engine bay, a pair of ND468 dynamic mics on the exhaust, and the Rode NTG5 shotgun mic.

    The content is offered in 96 kHz 24 bit for the engine recordings and 192 kHz 24 bit for the actions performed inside the vehicle. Polywavs are naturally provided for the multichannel mic arrays. This library is fully UCS compatible and Soundminer-friendly with richly embedded metadata. It contains 25 WAV files in total with a runtime of close to 28 mins of audio.

    Thank you for listening. I sincerely hope you enjoy my work and have lots of fun making new creations for the world to hear! Also be sure to post or send me what you’re working on with the assets. Attribution is appreciated, but not required.

  • Drones & Mood Sound Effects Electromagnetic Drones Play Track 171+ sounds included, 108 mins total $49

    Electromagnetic Drones is a collection of 171 recordings that capture the invisible electromagnetic landscape produced by electronic devices. Using the Soma Ether, a specialized wide-band receiver, we captured hums, pulses, and static produced by phones, microwaves, fridges, TVs, computers, Wi-Fi routers, and more. Unlike traditional radios that filter out interference, Ether acts as an “anti-radio,” capturing a broad spectrum of electromagnetic activity from hertz to gigahertz, revealing the sonic textures generated by electronic equipment.

    The library features both raw recordings directly from the Soma Ether device, as well as designed sounds, giving you a versatile range of textures to work with. These recordings were transformed into deep, evolving drones, ranging from gritty industrial hums and eerie, synth-like tones to rhythmic machine pulses and dissonant, unsettling tones.

    Captured at 192kHz, these sounds maintain exceptional clarity, allowing for extreme pitch manipulation and creative sound processing. With its dark, atmospheric qualities, Electromagnetic Drones is well-suited for horror, suspense, drama, sci-fi, and experimental sound design in film, television, and video games. Whether you need haunting ambiences, dystopian textures, or immersive low-frequency drones, this collection provides a rich sonic palette drawn from sounds of the electromagnetic world.

  • Explosion Sound Effects Massive Fireworks Play Track 815 sounds included, 350 mins total $29.99

    Massive Fireworks – 815 files of Commercial Fireworks sound effects, at varying distances and intensities. From small pops and sparkles in the distance to screeches and bombastic mortar fire front and center. Massive Fireworks comes in at over 5 hours and 50 minutes of short and long displays of fireworks for every occasion. Recorded during several New Years and Holiday Celebrations. Massive Fireworks’ filenames are in the Universal Category System format with additional Metadata baked-in.

    Don’t need a Massive amount of Fireworks sound effects? We offer ‘Mini’ sound effect libraries as companions for all of our ‘Massive’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

    Visit Us At: www.MassiveSoundFX.com

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  • Forged in Fury Vol. 1: Modular Sounds for Epic Combat

    Break down, customize, and master every detail of your combat effects with Forged in Fury Vol. 1, a collection of 394 brutal sounds in 192kHz/24. Includes katana, heavy axe, metal claws, and layer-by-layer edited vocals for total control.

    🔪 Katana (193 sounds):
    Double whooshes, precise slashes, impacts, blood splatters.
    Mix layers of edge and secondary effects (e.g. combine a quick whoosh with a feminine scream).

    🪓 Heavy Axe (96 sounds):
    Powerful whooshes, crushing blows, equip sounds, blood effects.
    Combine the roar of metal with the sounds of breaking bones.

    🔗 Metal Claws (37 sounds):
    Mechanical opening/closing, scratching, cutting whoosh.
    Ideal for fast movements and surprise attacks.

    🗣️ Male & Female Voices (68 Sounds):
    War cries, moans of pain, grunts of effort.
    Use them alone or synced with weapon effects.

    ✨ Key Feature:
    Each sound includes its own editable layers (e.g. whoosh + impact + blood). Do you want a bloodless ax swing? only the whoosh of a katana?, only blood? Modify it instantly.

    🎚️ Studio Quality:
    Recorded in 192kHz/24-32 bits, delivered in 192kHz/24 bits. Perfect for toning down, adding distortion or manipulating without losing clarity.

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

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  • Explosion Sound Effects Mini Fireworks Play Track 40 sounds included, 24 mins total $6.99

    Mini Fireworks – 40 files of Commercial Fireworks sound effects, at varying distances and intensities. From small pops and sparkles in the distance to screeches and bombastic mortar fire front and center. Mini Fireworks comes in at over 24 minutes of short and long displays of fireworks for every occasion. Recorded during several New Years and Holiday Celebrations. Mini Fireworks’ filenames are in the Universal Category System format with additional Metadata baked-in.

    Looking for a Massive amount of Fireworks sound effects? We offer ‘Massive’ sound effect libraries as companions for all of our ‘Mini’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

    Visit Us At: www.MassiveSoundFX.com

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