How do you make a game sound its best - and how's everyone else doing it? Recently, sound designers and recordists Matthew Marteinsson and Gordon McGladdery kicked off an insightful series of game audio tips on Twitter, and soon, many others from the community joined in too.
There are some real gems in there, and to make it easier to put those tips and ideas into action, we've compiled this special overview for you.
A big thanks to everyone who've shared their game audio tips - hope it comes in handy!
Compiled by Adriane Kuzminski. Features tips from @_decibella, @almutschwacke, @AShellinthePit, @carlyenyte, @ColinNorthway, @drenmc, @edsounddesign, @markkilborn, @mattesque, @megancomposer, @toggleModal and @tporter64
When making [organic] creature sounds, less processing is often more. Performance over plugins. You’ll get better results faster with simpler tools: pitch, reverse, EQ, & compression with a good performance than tweaking a huge chain.
“Performance” here can be a vocal performance, SFX recording performance (metal wronks, cinderblock scrapes, etc), animal source. What I mean is that your job will be easier if the core emotional thrust exists in the pre-processed source material.
When working on revisions, sometimes the ~best~ thing to do is save as, delete everything, and start from scratch. You’re not throwing anything away, you’ll take those lessons learned…
I use Audiosuite processing in my design a lot. Biggest reason for this is to commit and move on. Don’t need Pro Tools and Audiosuite to do that. Can waste a lot of time second-guessing yourself. It’s often better to just run with something and see where it goes.
You can always revise once you’ve committed and got something in game. You can’t when you’re still tiptoeing around if you should eq a layer or not.
For new/unique/unrealistic sounds, experiment. Seriously. When I’m building realistic stuff I’ve kinda got it down to a science, but when I’m doing weird designy stuff, I don’t know wtf I’m doing most of the time.
Suitcases of all kinds are excellent resonating bodies to attach to a thing that you’re creating a sound with to alter the character and size of that thing’s sound.
Leave yourself room to fail. Some of your best design decisions will come from crazy ideas that might not work. If you don’t give yourself the time and space to try those you might not hit your most creative strides.
Try out the crazy things but plan so you’ve got time to do the safe thing if it fails. Some of my best sounds have come from trying something where I didn’t know if it was going to work. And sometimes it didn’t. But that was ok cause I planned for that possibility.
(Nod to @sebvandenbrink): Curate your reel/portfolio for who’s seeing it. I had a commercial reel, a music reel, & a sound design reel. Could’ve been even more granular. Make sure people see what is applicable to *them*.
Don’t get worked up over sales on plugins/software. If something will pay for itself on sale, it’d sure as hell better pay for itself when it’s not on sale as well.
Randomize in small increments but at multiple levels to keep variation strong on footsteps/general locomotion—actor-mixer gets a randomizer, random container gets a randomizer, event gets a randomizer, you get a randomizer, and YOU get a randomizer!!
Wwise users! Seek actions are a great way to add some finesse to your looping SFX. Super-basic setup in your event—Play, target the looping sound object. Seek, target the same object. Set Seek type to “Percent” and its randomizer to Min 0/Max 100.
I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)
Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
8 Different Walking types
More than 200 unique samples
Recorded in real snow, in different depths
Stereo 96Khz 24bit
Kontakt & DSsampler
Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSmapler 1.9.13 or higher.
Skip all the hassle and wasted time trying to find the right sounds. Explainer Video Sound Kit has everything you need to create dynamic sound tracks for video ads, commercials, animations, marketing and explainer videos. Importantly, it’s all royalty-free and an unbeatable time saving value.
As you know, creators of motion graphics, animations and explainer videos struggle mightily with finding the right sound effects for their projects. Sadly, wasting lots of time and energy. That’s why we created the Explainer Video Sound Kit. It’s an all-in-one power pack that gets your project done fast. 1200 designed sounds, cinematic elements, transitions, Foley, natural and organic sounds and a sweet selection of background music all ready to go.
Instantly take your production to a new level of engaging sound. Create compelling audio/video experiences easier than ever. Save time and level up your audio skills like a pro with the Explainer Video sound library!
We’ve ventured to obscure boutiques, prop houses and vintage shops to capture mechanical contraptions from around the world. Ranging from bizarre creations, to steampunk gadgetry, gizmos and machines, GEARBOX clocks in at over 10 GB of high definition, precision mastered sounds spanning across 2987 construction kit sounds and 584 designed sounds.
GEARBOX equips Sound Designers with a literal toolbox of mechanical gadgetry. Ranging from tiny to huge, GEARBOX‘s machines and gizmos provide coverage for interacts, mechanism, machine or device in your scene or game.
INTRODUCING BUILDING BLOCKS
In addition to CONSTRUCTION KIT and DESIGNED SOUND content, GEARBOX features BUILDING BLOCKS. This category of sound consists of designed phrases and oneshots utilized for our designed machinery, empowering Sound Designers with maximum flexibility when trying to get that particular phrase from an existing DESIGNED SOUND. GEARBOX features over 468 BUILDING BLOCKS ranging from levers, hits, grinds, snaps, and more.
Embark on a Sonic Journey Through one of Italy’s most beautiful and striking cities
Relive the magic of Florence with an immersive collection of field recordings captured during my May 2022 trip. These authentic soundscapes will transport you to the heart of this enchanting city:
The Timeless Duomo: Experience the awe-inspiring ambiance inside and outside this iconic cathedral.
Mercato Centrale: Hear the early morning hustle and bustle of this vibrant market, captured before the doors even opened.
Evening Traffic: Feel the pulse of the city as the evening traffic fills the streets with life.
Train Station: Immerse yourself in the lively atmosphere of the train station, a gateway to adventure.
These evocative sounds will add a unique and authentic touch to your film, documentary, or creative project. As an experienced audio professional
GEAR
Zoom F3 with Audio Technica SP4025 Stereo mic
Zoom F3 with Sonorous SO.103 Stereo mics (for covert recordings)
Zoom H1n built in mics
Hello, everyone! Today, we present to you 100 pieces of Jump Scares sound effects crafted by us. The inspiration for these creations stems from a horror film called “Terrifier” that we’ve been extremely keen on lately. In this album, we’ve employed a plethora of metallic sounds and acoustic instruments. It’s anticipated that each sound effect cover will feature a “cute” clown. These sounds can be utilized in games, short videos, and film previews. We sincerely hope you’ll enjoy them.
This collection has over four hours of streams, rivers, and waterfalls, all recorded without birds or man-made noise. The 91 recordings offer a variety of perspectives, from close-up to distant, highlighting the natural gurgles and splashes. Everything was recorded in northern Norway, Belgium, and northern France.
I created this collection primarily for myself, aware of the many Rivers and Streams libraries out there, but I couldn’t resist sharing it after enjoying the recording process so much. The sounds capture everything from the intense rush of water just above the roaring rapids to the gentle flow of rivers hundreds of meters away. In quiet natural environments, the sound of flowing water can be heard from very far and this really impacts the soundscape in a beautiful way. I also designed some waterfall samples, focusing on texture to avoid the typical pink noise. These additions sound powerful yet natural. There are also low-end recordings of a large waterfall, captured between rock formations, which deliver a deep roar with minimal high frequencies—perfect for enhancing water sounds.
Many of the recordings were captured during a 30-day hiking trip through the northernmost parts of Norway. Crossing rivers without bridges was a significant part of the journey, and these sounds instantly take me back there, wet feet and all. I hope you’ll find them useful!
Discover my other libraries Rain Ambiences
Rain recorded in natural parks and urban environments. Wind Ambiences
A cinematic and natural sounding wind library in surround. Interior Wind
Wind recorded through creaks and cracks indoor in surround. Expressive Winds
Unusual and distinct wind textures designed with great variety.
Sign up for our mailing list to get notifications about new releases and the occasional podcast about field recording and sound design!
All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272 and Sonorous Objects SO.3 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.
Dive into the nostalgic sounds of classic audio devices with 237 high-quality sounds captured from some of the most iconic audio-visual and gaming equipment of the past. Whether you’re a sound designer, producer, or game developer, this collection is a must-have for bringing the vintage audio experience to life.
You will find detailed recordings from devices like the Universum SK-2215 Portable TV, Akai 4000DB Reel to Reel Recorder, Kodak Carousel Projector, BASF Hi-fi Cassette d-6135, Panasonic VHS Video Cassette Recorder nv-j11, Sony Walkman, Microcassette recorder, Vintage car radio, Atari console, Rotary telephone, Tube TV, Boombox, along with their accessories.
Explore the rich variety of sounds including:
– Tape insertions, motor hum, tape rewinds, play, stop, and fast-forward clicks.
– Eject and insert, mechanical button presses, tape hiss, recording start/stop, and microphone pickup.
– Player cassette insertions, radio tuning, volume knob twists, and FM/AM station changes.
– Dialling sounds, receiver pick-ups and hang-ups, ringing tones, and background line noise.
– Joystick clicks, cartridge insertions, and console start-up sounds.
– Static, channel switches, power-up hum, and the warm buzz of CRT screens.
– Cassette loadings, speaker distortion at high volumes, battery changes, and radio antenna adjustments.
– Tape threading, spooling, fast forward, and record/playback mechanical movements.
– Slot insertions, ejects, and console power-up sequences.
Accessories Foley sounds include opening and closing of cassette cases, adjusting Walkman belts, rewinding reels, and handling vintage game cartridges.
All files are recorded in pristine 24bit/96kHz .wav format with intuitive file naming and thorough metadata. Compatible with all DAWs, middleware, video editing software, and completely royalty-free.
Bring the sounds of the past into the future and add authenticity and atmosphere to any project!
Find the true sound of it.
What else you may need
You may also want to check out our Vinyl Foley & Scratch Library, featuring 120 high-quality sounds and samples of real vinyl, scratch and Foley that are organic, creative and perfect for both sound designers and producers.
Analog and Digital Cameras Ultimate Bundle is another option with 1.000+ communication, digital, mechanical and equipment sound effects with pristine sounds of 36 wonderful cameras and their accessories.
“Kill Yur Babies”. When a sound/song doesn’t work, revise/rework it! Don’t get caught up that your creation is so special that it can’t not work. Don’t get hung up on things like how much time you spent on it. If it doesn’t work, it doesn’t work.
Regardless of how much time it took to create it. And don’t forget, more often than not, you’re not the one whose opinion matters most at the end. We’re usually all work for some other lead that’s making the final call. Serve the game and serve their vision.
Early access. Players are great sources of pointing to where’s wrong but not necessarily what’s wrong. If they’re complaining about an area or HUD sounds or what not really have a look at that area but not what they’re saying to fix.
Early access (but regular releases too). I’ve found players more perceptive of sounds that are too loud more than sounds that are missing. Worry more about the mix then coverage if you have to prioritize.
We’ve had lots of people ask for volume sliders/toggle to turn off specific sounds and that they hate a given sound. When the sound in question just needed to be turned down (sometimes a lot) and objects/creatures that went out with no sound they swear sound was there.
Mix as you go. It’s rare that projects have time in the schedule for a final mix at the end. Even AAA projects. Mix as you go and protect it. Change it if necessary, but once it’s established, everything that goes into the build should be implemented in a way that fits with the mix.
Another tells you to get imperfect content in and iterate from there. Very solid advice. Once you’re iterating, create a “beautiful corner” (art term). One section of the game, one character, one or two weapons, make it sound ready to ship. Then use as reference.
We do this in Call of Duty. We get a weapon or three, a grenade, a couple of footstep materials, all sounding finished. Then we polish up a section of a mission of the game, and a single multiplayer map, and make them sound done and ready to ship. We then reference those as we do the rest
Consider the level of complexity something needs. A 2D platformer doesn’t need 5 randomized layers of foley (did this for Fossil Echo, oops). Music doesn’t always have to be dynamic. Complexity should enter only when necessary, not to flex.
General freelancing rule, but for the love of god don’t do ANY work on large projects until you have a contract in place. ESPECIALLY with friends. All assumptions & expectations must be squared away before a project gets in too deep. This can go wrong for malicious & non-malicious reasons.
Non-malicious: people (often friends) working together, both assuming they will be treating each other fairly, but when it finally comes to talk $, they have wildly differing opinions of one another’s value.
Malicious: this happened to my wife when she was starting out. A filmmaker put an extreme deadline on her & would feed her enough money to make her believe they had the funding they said. They used this pressure & appeasement to keep deferring the contract she was asking for.
When they never got their funding, the project was cancelled & she was stiffed to the tune of tens of thousands. It was a brutal lesson in putting one’s foot down. There are people out there who know they can exploit others’ passion & eagerness but also their fear of conflict. If you find yourself working without knowing clearly the financial details, STOP WORK NOW. Have the money talk. Clear up any & all assumptions on payment & responsibilities. Not doing this is IMO the biggest freelancing mistake one can make. It shatters relationships.
Also, for those of us hiring contractors, in most places we have no right to use someone’s work until it is signed over in writing. You could find yourself having paid someone thousands & without a contract they can turn & say, “Actually, naw” & take your money & their work & leave. There is potential for exploitation on both sides. Contracts, people. Get’em.
Be cognizant of your support network/escape plan before going full-time freelance. I cannot recommend someone go all-in if they’re gonna wind up homeless/hospitalized if things don’t work out. This is a competitive, unstable & high-risk industry.
I think everyone should Chase Their Dreams(TM) at some point bc one will always regret not *trying*, but to ignore the fact some folks have a less privileged/forgiving route into a fulltime freelance world would be naïve. One must ask oneself “what happens if this doesn’t take?”
Things to consider (not all are needed):
-How long can you live off savings?
-Working partner/spousal support?
-Do you have a pre-existing fallback career?
-What is your healthcare situation like?
-Parents/family to catch you if it doesn’t pan out?
My situation was pretty privileged. I started with:
-supportive (but also newb freelancing) partner
-parents who with resources to [reluctantly] bail me out if desperately needed
-a country with universal healthcare
-white male privilege
-work experience in other careers
I am by no means saying folks without these life perks shouldn’t try, but I am saying *be aware* & plan & compensate accordingly.
Don’t judge someone’s overall quality of work because you checked out something they worked on & didn’t like it. You do not know the circumstances they were under. They might not be happy with it either.
I recall being pretty judgy out of school because I’d spent the last year on projects I had all the time in the world to polish. Once I had a handle on what real-world schedules are like & the sacrifices & decisions that have to be made, I became a lot more forgiving.
The “what’s ur rate?/what’s ur budget?” standoff is dumb & shouldn’t exist. Quotes can’t be responsibly given without detailed info on the project. Imagine how silly this would seem between a homeowner & a housepainter.
Women constantly, CONSTANTLY undercut themselves and undervalue their work. I made a habit of getting the client to make me an offer first because it’s almost always higher than what I thought I would get.
Bit the bullet and straight up doubled my rate starting with my latest project. The client negotiated me down a bit, but I’m still making much more than I would have if I’d quoted my original rates. Do it, kids! Raise your rates to the point where you feel a bit ridiculous!
Learn how to communicate your wants and needs clearly. Your team cannot support you if they don’t know what your vision is or what you need to achieve it. Professional relationships are very much like romantic ones, communication is key if you want it to succeed.
This takes practice, especially if you’re new and might not necessarily understand your role fully. But you’re there for a reason, and your voice matters. So learn how to use it, your work (and life) will be better for it.
If you need material/updates/approval/etc. from a teammate, keep asking until you get it. Don’t be timid about communicating what you need in order to do your job. This DOESN’T mean be a jerk about it, there’s a difference between being clear & being rude.
Early predisposition to this timidity is more common for women & other underrepresented people—we run a higher risk of being labeled negatively for being persistent. If you’re part of the majority, a basic way to be inclusive is to appreciate & address clear asks from us 🙌
If you are emailing devs cold looking for work then for God’s sake do some research first! If you show me you put work in then I will engage with the email. If not I won’t even read it.
Audio people, I’m mostly talking to you since you send the most cold emails.
Make friends with the animators. They can tell you when animations get updated to help keep your audio from going out of sync. They also probably have video captures of everything you need already in some approval folder. They’re also pretty cool folk. Get to know them!
Devs: To achieve an OK level of polish, your game probably needs 100-400% more audio events than you think. This has been my experience comparing dev-made asset lists to ones we make based on auditing builds.
A general guideline for making a high polish asset list:
-a sound (or more) for every animation
-a bed ambience for every environment
-multiple spot ambiences for every environment
-a sound for each different UI function
-bespoke movement sounds for each important character
-a footstep & bodyfall set for every different surface
-a physics impact set for every type of physics object & surface
-a sound for everything a character interacts within the game
-a set of sounds for every game mechanic
-HUD sounds, tailored for function
-“tell” sounds for enemy/boss attacks if your game has that stuff
-different music for every game state, or no music when not needed. Dynamic when beneficial.
-VO is basically its own category, see: expanded thread
tl;dr #1: if you’re having an artist do something, your sound people probably have to do something to.
tl;dr #2: ask yourself, “Could a visually impaired person play my game?” Games with carefully crafted, communicative soundscapes are playable by people who can’t see.
VO budgeting: IME recording takes ~1.25mins line, so book your VO artist for [lines]*1.25 mins. A pro should be able to cover ~300 lines of varying complexity (this would include single word lines, etc.) in 4 hours.
A pro will be $350+ per hour. You audio team will need 3-4 hours per studio hour. So if you have 900 lines to get through (for one character) you’ll need to book your actor for 3 4-hour sessions, let’s say at $1200 per session. Your audio team will need 36 hours to edit, process & implement.
VO talent budget: $3600
Audio team budget (assuming hourly contract at say $60/hr): $2160.
Total: $5760
This is for 900 lines. For perspective: Mass Effect Andromeda had 65,000!
Yes, your sound designers are majestic creatures who are a boon to this great earth. No, most of us are not clairvoyant. Please tell your audio people when you add new visual assets—our Spidey Senses only work when there are sound waves involved.
No matter if it’s your first or your thirty-first title, no two projects are ever the same. Your team will change, the system will change, your hours will change, SOMETHING will change. Change with it!! You might surprise yourself.
Dedicated recording trips. After doing it a long time it has become harder for me to take my recorder with me everywhere I go out of a need to separate leisure from work. Organizing a trip categorizes it as work. More organized & easier to edit.
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:
I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)
Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
8 Different Walking types
More than 200 unique samples
Recorded in real snow, in different depths
Stereo 96Khz 24bit
Kontakt & DSsampler
Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSmapler 1.9.13 or higher.
A warrior prepares for battle. A knight readies for combat. A sound designer prepares for post. Rock The Speakerbox is proud to present HERO, a library focused on the warrior, the victor.
Recorded on the field and on the Paramount Pictures Foley stage, and designed by award winning sound designers, HERO contains over 7 GB of HD quality content spread across 2572 construction kit sounds and 274 designed sounds. Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor and Foley begin to detail the vast collection of sounds featured within.
Animal Hyperrealism Vol III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.
The sounds were recorded in zoos and wildlife centers. The asset list includes but is not limited to: european red deers, monkeys, reindeers, hornbills camels, crickets, tamarins, boars, frogs, red ruffed lemurs, parrots, and many more.
The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
Part of the cheats section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.
Bonus: Two extra libraries included for free:
This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
Embark on a Sonic Journey Through one of Italy’s most beautiful and striking cities
Relive the magic of Florence with an immersive collection of field recordings captured during my May 2022 trip. These authentic soundscapes will transport you to the heart of this enchanting city:
The Timeless Duomo: Experience the awe-inspiring ambiance inside and outside this iconic cathedral.
Mercato Centrale: Hear the early morning hustle and bustle of this vibrant market, captured before the doors even opened.
Evening Traffic: Feel the pulse of the city as the evening traffic fills the streets with life.
Train Station: Immerse yourself in the lively atmosphere of the train station, a gateway to adventure.
These evocative sounds will add a unique and authentic touch to your film, documentary, or creative project. As an experienced audio professional
GEAR
Zoom F3 with Audio Technica SP4025 Stereo mic
Zoom F3 with Sonorous SO.103 Stereo mics (for covert recordings)
Zoom H1n built in mics
Hello, everyone! Today, we present to you 100 pieces of Jump Scares sound effects crafted by us. The inspiration for these creations stems from a horror film called “Terrifier” that we’ve been extremely keen on lately. In this album, we’ve employed a plethora of metallic sounds and acoustic instruments. It’s anticipated that each sound effect cover will feature a “cute” clown. These sounds can be utilized in games, short videos, and film previews. We sincerely hope you’ll enjoy them.
This collection has over four hours of streams, rivers, and waterfalls, all recorded without birds or man-made noise. The 91 recordings offer a variety of perspectives, from close-up to distant, highlighting the natural gurgles and splashes. Everything was recorded in northern Norway, Belgium, and northern France.
I created this collection primarily for myself, aware of the many Rivers and Streams libraries out there, but I couldn’t resist sharing it after enjoying the recording process so much. The sounds capture everything from the intense rush of water just above the roaring rapids to the gentle flow of rivers hundreds of meters away. In quiet natural environments, the sound of flowing water can be heard from very far and this really impacts the soundscape in a beautiful way. I also designed some waterfall samples, focusing on texture to avoid the typical pink noise. These additions sound powerful yet natural. There are also low-end recordings of a large waterfall, captured between rock formations, which deliver a deep roar with minimal high frequencies—perfect for enhancing water sounds.
Many of the recordings were captured during a 30-day hiking trip through the northernmost parts of Norway. Crossing rivers without bridges was a significant part of the journey, and these sounds instantly take me back there, wet feet and all. I hope you’ll find them useful!
Discover my other libraries Rain Ambiences
Rain recorded in natural parks and urban environments. Wind Ambiences
A cinematic and natural sounding wind library in surround. Interior Wind
Wind recorded through creaks and cracks indoor in surround. Expressive Winds
Unusual and distinct wind textures designed with great variety.
Sign up for our mailing list to get notifications about new releases and the occasional podcast about field recording and sound design!
All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272 and Sonorous Objects SO.3 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.
Dive into the nostalgic sounds of classic audio devices with 237 high-quality sounds captured from some of the most iconic audio-visual and gaming equipment of the past. Whether you’re a sound designer, producer, or game developer, this collection is a must-have for bringing the vintage audio experience to life.
You will find detailed recordings from devices like the Universum SK-2215 Portable TV, Akai 4000DB Reel to Reel Recorder, Kodak Carousel Projector, BASF Hi-fi Cassette d-6135, Panasonic VHS Video Cassette Recorder nv-j11, Sony Walkman, Microcassette recorder, Vintage car radio, Atari console, Rotary telephone, Tube TV, Boombox, along with their accessories.
Explore the rich variety of sounds including:
– Tape insertions, motor hum, tape rewinds, play, stop, and fast-forward clicks.
– Eject and insert, mechanical button presses, tape hiss, recording start/stop, and microphone pickup.
– Player cassette insertions, radio tuning, volume knob twists, and FM/AM station changes.
– Dialling sounds, receiver pick-ups and hang-ups, ringing tones, and background line noise.
– Joystick clicks, cartridge insertions, and console start-up sounds.
– Static, channel switches, power-up hum, and the warm buzz of CRT screens.
– Cassette loadings, speaker distortion at high volumes, battery changes, and radio antenna adjustments.
– Tape threading, spooling, fast forward, and record/playback mechanical movements.
– Slot insertions, ejects, and console power-up sequences.
Accessories Foley sounds include opening and closing of cassette cases, adjusting Walkman belts, rewinding reels, and handling vintage game cartridges.
All files are recorded in pristine 24bit/96kHz .wav format with intuitive file naming and thorough metadata. Compatible with all DAWs, middleware, video editing software, and completely royalty-free.
Bring the sounds of the past into the future and add authenticity and atmosphere to any project!
Find the true sound of it.
What else you may need
You may also want to check out our Vinyl Foley & Scratch Library, featuring 120 high-quality sounds and samples of real vinyl, scratch and Foley that are organic, creative and perfect for both sound designers and producers.
Analog and Digital Cameras Ultimate Bundle is another option with 1.000+ communication, digital, mechanical and equipment sound effects with pristine sounds of 36 wonderful cameras and their accessories.