Composer Success Series Games Composer Peter McConnell Asbjoern Andersen


Want to make it as a game composer? In this interview, you'll hear what it takes to get started and succeed in composing for the game industry, from multi-award-winning composer Peter McConnell, known for his scores on Blizzard Entertainment's Hearthstone: The Boomsday Project, Double Fine Productions's Broken Age Act 2 (2013), and Double Fine's Psychonauts 2.

As a composer at LucasArts, he also worked on legendary series like Monkey Island, Indiana Jones, and Star Wars, as well as Grim Fandango, and Full Throttle.


By Jennifer Walden and Asbjoern Andersen, images courtesy of Peter McConnell
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The Composer Success Series – and what it’s all about:

The Composer Success Series is dedicated to helping you succeed as a composer – offering inspiration, advice on getting started and advancing your career, creative tips and tricks, helpful resources and lessons learned, from some of the industry’s most successful composers for film, games and beyond.
 

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More interviews in the Composer Success Series:

Charlie Clouser • Sherri Chung • Cindy O’Connor • Inon Zur Pinar Toprak • Nainita DesaiJonathan SnipesGareth Coker Elyssa Samsel and Kate Anderson Daniel Kluger Jason Graves Ronit KirchmanZach RobinsonAlec PuroWinifred Phillips Ronit KirchmanZach RobinsonAlec PuroAriel MarxMatthew EarlChristopher Thomas

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Peter McConnell:

Peter_McConnell-1

Award-winning composer Peter McConnell is a member and former governor of the San Francisco chapter of the Recording Academy, a member of ASCAP and a founding member of G.A.N.G., the Game Audio Network Guild.
He was born in 1960, the oldest in a family of five. His father was a Presbyterian Minister. Growing up, they lived in Switzerland, Kentucky, Kansas, and New Jersey before Peter went to college at Harvard, taking a couple years off along the way to complete the switch from physics to music. He moved to the San Francisco Bay Area in 1990, married to a teacher, and has two children, ages 13 and 15. Everyone in his family is a budding musician in one way or another. Peter loves all kinds of music and his favorite instruments to play are electric violin, acoustic guitar and 5-string banjo.
Learn more about Peter’s work and awards at petermc.com


• How did you get started in the composing industry? What was your first game score and what was that experience like for you?

I got started kind of sideways. More than 30 years ago, I was just out of college, where I had started out studying math and physics and ended up graduating with a music degree. Mostly on the strength of the math background, I got a job writing audio software for Lexicon, a Boston Area-based maker of high-end effects boxes for musicians and studios. I was later joined by my friend and classmate Michael Land, and Michael and I played in a band together, along with Michael’s childhood friend Clint Bajakian. We came up with a loose plan to go out to San Francisco and start a band.

Mostly on the strength of the math background, I got a job writing audio software for Lexicon, a Boston Area-based maker of high-end effects boxes for musicians and studios.

Michael got to the Bay Area first, and landed a job at what was then called LucasFilm Games, to start their audio department. By the time I got to the Bay Area, the band idea had kind of fizzled out, but Michael needed help developing a new music system — and to write music for it. I jumped on the opportunity: imagine, not only doing cool audio tech, but actually getting paid to write music!

As LucasFilm Games grew into LucasArts, I transitioned to writing more and more music and doing less technical work. My first game score was Monkey Island II: LeChuck’s Revenge , released in 1992, which was a collaboration with Michael and Clint, and featured Michael’s iconic themes.

That was followed by musical collaborations on Day of the Tentacle, Indiana Jones: Fate of Atlantis, and Sam & Max Hit the Road. My first project as lead composer — and my first work with Tim Schafer as Project Leader — was Full Throttle in 1995, followed by Grim Fandango in 1998.

…my career grew out of a very slow process of building on working relationships to take on increasingly challenging composition projects.

I left LucasArts in 2000 to compose independently and work on an internet media startup with Michael. The media startup failed spectacularly, but I was able to compose music for Psychonauts 2 for Tim Schafer, who had also left LucasArts in 2000 to form Double Fine Productions. I also wrote music for Sly Cooper 2, 3 and 4, Brutal Legend, Kinectimals, Plants vs. Zombies 2and PVZ Garden Warfare, and I continue to write music for Hearthstone.

In short, my career grew out of a very slow process of building on working relationships to take on increasingly challenging composition projects.

 

• Any advice you’d share on how to land a composing job in the game industry?

Obviously things are a little different now than when I got started. In the early ’90s, if you said you wrote music for games, people would say, “Oh, you mean bloops and bleeps.” Nobody says that any more. The stakes are so much higher: the production value, the budgets, the size of the teams, and the list goes on. Thus, the ways to enter the business have become more formalized, and the hurdles more numerous. So it can be daunting now in different ways than it was for me.

…the path to success may not be obvious. Know what you bring to the table and be on the lookout for any situation that allows you to play to your strengths.

The good news is that there are also many more developers than when I got started, and opportunities abound for young composers to work on small indie projects. And if you are in that position, bear in mind that the path to success may not be obvious. Know what you bring to the table and be on the lookout for any situation that allows you to play to your strengths. Or as a very successful performing musician friend of mine once said: there are as many ways to make it as people who have made it.

 

• What were some essential lessons you’ve learned throughout your career?

Very simply, you want to be the person people want to work with.

Have a great attitude.

Be on time.

… do the very best you can for each and every project…

Be organized.

Know your tools.

Take criticism gracefully.

And do the very best you can for each and every project, given the resources available, because you never know who will hear a title with your work in it, no matter how small.

 

• Any favorite tricks and workflow tips that help when composing for games?

I think that tricks and workflows vary a lot from person to person. For me, much of it has to do with timing: knowing when I am most productive (usually first thing in the morning or late at night), setting up tracking structures to keep me focused on production work and away from busy work, that sort of thing.

I track all of my waking hours in a Google spreadsheet down to 15-minute increments.

I have to admit I am a bit obsessive on this last point, as I track all of my waking hours in a Google spreadsheet down to 15-minute increments. That’s all waking hours — every day, 365 days a year, including vacation time. I would be the first to admit it’s not for everybody, but it works for me. So much of being a composer involves things that aren’t composing.

Regarding my technical setup, I run Pro Tools 12 on a fully loaded 2013 Mac Pro, driving Vienna Ensemble Pro on the same machine. I got the spec from a friend in L.A. who is a composer for TV and film. In VE Pro, I run a number of Spitfire libraries, which are loaded with custom Kontakt scripts that allow me to switch quickly between articulations using MIDI controller switches on a little Korg Nano that I operate with my left hand while playing the keyboard with my right. That way I can switch between, say, legato, staccato and pizzicato strings without stopping the melody line.

…custom Kontakt scripts…allow me to switch quickly between articulations using MIDI controller switches on a little Korg Nano that I operate with my left hand while playing the keyboard with my right.

I got the basic flow from Beijing-based composer Seth Tsui, who used to work for Hans Zimmer’s Remote Control group, among other studios. He showed me how to set up the key switches in a Kontakt script. I have to say am not a big fan of key switches (they clutter the tracks and can cause confusion when it is time to orchestrate), so I modified the script to use controller switches instead.

 

• What are your favorite sites and resources for composers?

Vi-Control is a fantastic forum. It’s my go-to site when I have a problem and need the perspective of folks who are doing serious audio and composition work every day.

I also keep a copy of Rimksy-Korsakov’s book on orchestration handy.

Robert Puff has great blogs and columns on how to deal with orchestration in Sibelius.

I also have a network of friends who are musicians and audio engineers.

 

• What’s one special thing you did to become a successful composer?

One of my fellow engineers at Lexicon, who is a musician and concert music composer, once gave me the following advice: if you really love something, no matter what you are doing for work, be sure you do that thing that you love at least an hour a day — preferably the first hour. I took that advice.

As a footnote, that engineer went on to design the Phoenix Reverb and effects programs, which he recently sold to iZotope, and I’m pretty sure he spends all his time composing now.

 
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[tweet_box]Peter McConnell on what it takes to get started & succeed in composing for Games[/tweet_box]

 

Highlights from A Sound Effect - article continues below:

 
  • Cinematic & Trailer Sound Effects Cinematic World Play Track 600+ sounds included $99
    Cinematic World┃SFX Library┃Trailer

    This cutting-edge library was created in collaboration with several award-winning sound designers, whose credits include Disney+, Diablo 3, The Outsider, Soul, Starcraft 2, Heroes of the Storm, Hearthstone, Assassin’s Creed Valhalla, Mortal Shell and many others.

    Cinematic World includes over 600 highly detailed designed, signature and source sound effects.

    All sound effects come in 24bit 96kHz, including detailed naming conventions and rigorous Soundminer-embedded metadata.

    All source sound effects were recorded with professional high-end equipment, including Sound Devices 788 with ORTF setup of Sennheiser MKH 8040’s and MKH 8050, as well as Rode NTG8, LOM Elektrosluch, DPA 4060 and Sony PCM D100.

    Library Review:

    RT Sonics’ libraries are awesome and irreplaceable – not only do they feature ready-to use-designed assets that stand out from the crowd, but also have immaculately recorded construction kits that I keep coming back to! You can tell that these libraries are created by sound designers, for sound designers.” –

    Alex Previty

    Sound Designer Audio Lead | Spider-Man (PS4), PlayStation

    Cinematic World features:

    Heavy Hits, Low Hits, Pulses, Clock Loops, Mech Suit Buildups and Weapons, Strings, Risers, Pings, Car Whooshes, Monster Roars, Bass Drops, Braams, Whooshes, Whoosh Hits and much more.

  • Dark ERA, ancient pagan music and the sound of the Vikings

    With Dark ERA, Eduardo Tarilonte – the master of mystical sounds – leads us back into the dark age where legends were born and where old northern gods still determined the fate of mankind. This library allows you to discover sounds to which the vikings and other already forgotten cultures and tribes were celebrating and singing their myths.

    The fascinating sound of Dark ERA ranges from the transcendental drones of the ancient stringed-harp Tagelharpa to the unmatched grace of the gut-stringed Lyre to the distinctive and characteristic sound of the Nordic bone flutes and the overtone flute Fujara. Goose bumps are guaranteed with the sound of war horns such as the wooden Lur, thunderous mighty percussion, a full ensemble of frame-drums as well as mystical throat chants.

    These instruments are complemented by an impressive collection of pulsating pads and atmospheric soundscapes which evolve over longer periods. These unique sounds ensure that Dark ERA can clearly be regarded as the next masterpiece created by Eduardo Tarilonte.

  • RAW CELLO FX features manipulated and mangled cello sound effects designed to provide the full character of the instrument and harmonic richness in order to create a completely unique set of organic samples between music and noise, intimate and vivid bold sounds expanding new possibilities out of this instrument.

    Different techniques and less-than-conventional microphone placement have been used to create gorgeous harmonics and a wide array of interesting sounds. We “played” with fingers and hands, different bows against the strings, objects and kitchen utensils, bowing, scraping or hitting single and multiple strings or parts of the wood body. 

    The collection features designed hits, bow, crescendo, screech, woosh, swell, bonus fx folder and is ready for trailer and soundtrack projects.

     

     

  • Realtime Pitchshifting PlugIn version 2!

    Elastique Pitch is the real time pitch shifting solution for RTAS, VST, AU and AAX. Powered by zplane’s élastiquePro pitch shifting engine which is used by millions of end users around the world, the plugin ensures the highest, program independent pitch shifting quality.

    Elastique Pitch focuses on the essential things: you won’t find any unnecessary or confusing controls or functionality. Instead, the plugin offers you quality, stability, and ease of use.

    In the second edition we´ve added a feedback delay and the infiniSTRETCH function of the new élastiquePro v3 engine. Both make it easy to use Elastique Pitch in a more creative way.

    The key features of Elastique Pitch V2 are:

    • multi channel: support for synchronous pitching of up to 8 audio channels
    • real time: no offline pre-analysis required
    • feedback with delay for more creative usage
    • Three different views
    • Program-independent high quality with the highly-acclaimed élastiquePro v3 engine (speech, single-voiced, classical/popular music, etc.)
    • phase coherence: absolute phase stability between all channels
    • MIDI input: for pitch control
    • formant shifting: shift formants independent from pitch
    • factory presets: for typical film pull-ups/pull-downs
    • AU, VST, AAX and RTAS support for Mac & PC

    technical specifications

    • audio format: 1-8 channels (I/O), 44.1-192kHz sample rate
    • plugin format: AAX, RTAS, AU, VST
    • pitch range: ± 12 semitones = 50-200%
    • timbre range: ± 12 semitones = 50-200%
    • plugin latency: 150ms @48kHz
    • min. system CPU: 2GHz
    • OS: MacOsX >10.6.8, Windows 2000/XP, Vista, Win7/8
    • Host: Pro Tools > V8

    DOWNLOAD THE DEMO HERE
    WIN | MAC

  • An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.

    Mixing and mastering features
    Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

    Effortlessly sculpt your sound
    FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
    Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

    FabFilter goodies
    Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.

  • A crush on music

    Distortion and saturation play a very important role in music production. From subtle, clean and warm tube or tape saturation to the wildest multiband guitar amp effects: FabFilter Saturn 2 delivers.

    Saturn 2 introduces a host of new features such as a redesigned interface with modulation visualization, new subtle saturation and linear phase processing for mastering, many new distortion styles, and more.


    Warmth, harmonics, color and dynamics

    FabFilter Saturn 2 offers a range of different high quality distortion models, inspired by the vintage sound of tubes, tape, transformers and guitar amps. In addition, you get five creative FX distortion styles to mangle your sounds in weird and unexpected ways.

    With its multiband design and per-band feedback, dynamics, drive, tone and modulation options, Saturn 2 will bring a unique flavor to your music.

    Bring your sounds to life

    Add life and depth to your music using the extensive modulation section. By applying subtle modulation to crossover frequencies, dynamics, band levels or tone controls, great warmth and definition can be achieved.

    With all the XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources you will ever need, you get practically unlimited modulation possibilities. Creating new modulation connections could not be easier: just drag and drop. And Saturn 2 visualizes all modulation in real-time to show exactly what’s going on.

    FabFilter goodies

    Finally, FabFilter Saturn 2 contains all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, interface resizing and full screen mode, support for Avid control surfaces, GPU-powered graphics acceleration, extensive help with interactive help hints, SSE optimization, and much more.

  • Animal Sound Effects Collections Animal Hyperrealism Vol I Play Track 290+ sounds included $170

    Animal Hyperrealism Vol I is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: african lions, bengal tigers, horses, donkeys, cows, exotic birds, owls, bobcats, pumas, dromedaries, wolves, dogs, geese, lemurs, gibbons and many more.

    All 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. All files are delivered as stereo bounce of these four 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.
  • Cold Weapon Sound Effects Swordfighter Play Track 479 sounds included $25

    Swordfighter is a robust package with sharp sounding swords, heaps of variations and all the extras you need to make a fight come alive. Build unique sword swings with various hits, swooshes, schings, different fighter vocals and impacts on various surfaces. All up there are 137 sword sounds, 93 surface impact sounds, 15 knife throwing sounds, 48 swooshes and 180 fighter vocals.

    This version includes two sub-folders: one optimised for a film & TV workflow and the other optimised for video games workflow. Plus a few bonus sounds of a charging army.

  • Genres Vintage Anime SFX Play Track 350+ sounds included $69

    The Vintage Anime Sound Effects Library brings all of the excitement of your favorite Japanese animated series to your fingertips. Inspired by classic cartoons from the 80’s and 90’s, these recognizable and versatile sounds will instantly enhance any FX collection. Vintage synths were used to create the auras, beams, mecha blasters, atmospheres, magic spells, guns, sonic blasts and explosives that makeup this pack of over 350+ custom 24bit/96khz .WAV files. Perfect for film, video games, podcasts and any project that could benefit from a power up!

    Both designed sounds and source recordings:
    • Classic anime sfx from the 80’s and 90’s

    • Auras, mecha, beams, blasters, spells, explosives and more! 350+ sounds!

    • Tons of source material for experimentation

    • Expert crafted metadata

    • Vintage Anime PDF

  • Creature Sound Effects WINGS Play Track 1444+ sounds included From: $99

    We are extremely proud to present our first library, WINGS – a one-of-a-kind sound library.

    From tiny insects to small birds, from fairies to dragons, WINGS offers a creative palette with a diverse range of sounds to choose from.

    With over 1400 files (more than 4 GB for the 192 kHz version ) we’re confident you will find the perfect sound.

    When purchasing WINGS you get 2 packs, our Design category that includes 180 files and the Source category that offers more than 1200 sounds. Featuring the very best of our foley sessions.

    All single flaps have been careful edited, allowing for unique speed or rate adjustments.

    Pick your preferred version at the introductory prices below:


Need specific sounds, instruments or plugins? Try a search below:

 

BONUS: Expand your skillset with the free Sound Success Guide:
Sound Success GuideWant to branch out beyond composing? Learning new sound skills can open up opportunities for additional revenue – and with the (entirely free) 60+ page Sound Success Guide, you get insights from 20 industry experts on how to get started and succeed in 18 different types of audio jobs:
 
Click to download (.zip)
Click to download(.PDF)


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A big thanks to Peter McConnell for sharing his valuable insights with us!

Want the free Composer Success Series e-book as soon as it’s released? Sign up to be the first to get it here

More interviews in the Composer Success Series:


Charlie Clouser – composer on the Saw franchise, Fox’s Wayward Pines, CBS’s Numb3rs, & NBC’s Las Vega
Sherri Chung – composer on The CW’s Batwoman and Riverdale, NBC’s Blindspot, and CBS’s The Red Line
Cindy O’Connor – composer on ABC’s Once Upon a Time
Inon Zur – composer on Fallout, Dragon Age, Prince Of Persia, Outriders, and The Elder Scrolls.
Pinar Toprak – composer on the Captain Marvel, The Wind Gods, and The Tides of Fate
Nainita Desai – composer on The Reason I Jump, American Murder, and For Sama
Jonathan Snipes – composer on A Glitch in the Matrix, The El Duce Tapes, and Murder Bury Win
Ronit Kirchman – composer on Evil Eye, and Limetown
Zach Robinson – composer on Cobra Kai, Impractical Jokers, and Artbound
Alec Puro – composer on The Fosters, Black Summer, and Mall
Gareth Coker – composer on the Ori franchise, Studio Wildcard’s ARK: Survival Evolved, & the upcoming Halo Infinite.
Elyssa Samsel and Kate Anderson – composers on “The Book Thief,” “Between the Lines,” & Disney Animation’s Olaf’s Frozen Adventure
Daniel Kluger – composer on the play “The Sound Inside,” “Oaklahoma!” (2019), & “Judgement Day”
Jason Graves – composer on Dead Space, Tomb Raider, Moss, and more.
Peter McConnell – composer on Hearthstone: The Boomsday Project, Broken Age Act 2 (2013), and Psychonauts 2.
Ariel Marx – composer on American Horror Stories on FX, Children of the Underground mini-series on FX, and the Roku Original docu-series What Happens in Hollywood.
Matthew Earl – composer on Virtual Reality games/experiences such as the Star Trek: Dark Remnant and Men in Black: Galactic Getaway VR simulation rides.
Zach Robinson – composer for the Evermore Adventure Park, Knott’s Berry Farm, Queen Mary Chill, Dreamland (UK), Los Angeles Haunted Hayride, Dent Schoolhouse, and The Void 4D virtual reality games.

 



 
 
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:

  • COMPATIBLE WITH ANY VIDEO SOFTWARE
    CRAFTED BY INDUSTRY PROFESSIONALS
    INSTANT DIGITAL DOWNLOAD
    100% ROYALTY FREE

    Introducing the Ultimate Sound FX Bundle – your all-in-one solution to level up your audio game! Say goodbye to wasting countless hours searching for the perfect sound effects, and hello to a seamless editing process that enhances your creativity.

    This bundle includes sound effects from different genres and subjects, so you’ll have everything you need right at your fingertips. Whether you’re working on a film, game, podcast, or music project, this bundle has got you covered.

    With the Ultimate Sound FX Bundle, you can speed up your workflow and take your creativity to new heights. Imagine having access to a vast library of high-quality sound effects that perfectly match your project’s needs, all in one place. No more time wasted on sifting through endless sound effect libraries – this bundle has it all.

    Don’t let sound effects be a pain point in your creative process any longer. Invest in the Ultimate Sound FX Bundle today and experience a smoother, more efficient workflow that unleashes your full creative potential.

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  • This library contains recordings of eleven different types of doors specifically chosen for their interesting sound. I performed all actions with a lot of detail covering “open/close”, “knocks”, “bangs and thuds”, “handle grab and rattle” and when possible also “crackles and squeaks” (all recorded at various intensities)

  • Footsteps Sound Effects Ultimate Footsteps Play Track 1176-3056+ sounds included From: $160

    Need footstep sound effects? Get 5 Shoes, 25+ surfaces, 15+ variations – created by Foley Supervisor Joshua Reinhardt and professional Foley walker Lara Dale.

    Deep heavy metal, crunchy snow, old boat wood, crisp grass, gritty dirt, clean tile – this library has it all. Not only does this library contain walking but it's got pretty much every performance you can think of, from scuffs to jumps and lands and scrapes. With this library you can cut Foley for pretty much any film or game that comes your way.

    Highlights:

    • 17 different Performances – From slow walk to RUN, 5 scrapes, bodyfall/land, stomps and more
    • Every file is labeled with a description of the shoe, surface and performance type.
    • Every folder has a picture of the shoe and surface plus a description of the distance of the mic from the Foley walker.
    • Combine wood creak sweeteners with Ultimate Interiors wood for scary creaky wood or add grit to a clean interior to give character.
    • Same recording studio mics and preamps used in over 50 major motion pictures
    • Same boots that were used for Sylvester Stallone in The Expendable
    • Mix and match shoes, surfaces and sweeteners to make your own custom characters
    • Can be used as a stereo or separated and mixed/matched as a mono depending which mic works best for your project

    Specs:

    Foot wear type:
    Boots, Dress Shoes, Flats, Heels, Sneakers.

    Performances:
    Extremely Slow Walk, Medium Slow Walk, Walk, Jog, Run, Stairs Slow, Stairs Fast, Stomp, Land, Scuff, Scrape 1, Scrape 2, Scrape 3, Scrape 4, Scrape 5.

    Surface Types:
    Asphalt, Carpet 1, Carpet 2, Concrete, Hardwood, Hardwood house, Hardwood deep, Hardwood parquet, Hardwood boat wood, Hardwood Dock, Lino, Marble, Tile, Dirt, Grass, Metal grate, Diamond plate Metal, Metal Slab, Wood Creak 1 old, Wood Creak 2, Gravel, Rocks, SNOW!!, Puddle, Water shallow, Water Deep.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Royal Cannon is a mini sound library created by sound designer Barney Oram. It features recordings of a British royal cannon salute, fired by six WW1 field guns in February of 2020, to mark the 68th anniversary of Queen Elizabeth II’s accession to the throne. All sounds in the library are contained within one single 192kHz 24bit WAV file, with 23 individual takes contained within.

    These recordings were made using the Neumann 191, and have been decoded into a stereo file. The recordings have had some light cleanup but have been left mostly natural, with the sounds of the soldiers shouting and reloading the guns still audible.

    This library includes detailed SoundMiner metadata and utilizes the UCS system for ease of integration into your library.

    Behind the Scenes Video:


    Royal Cannon


  • Over 375 sounds of creaking materials, including breaking cables, ropes under tension and about to split, wires and strings under stress, metal friction causing tension. Recorded with a combination of Sanken CO100K and Nevaton microphones for full frequency sound content. Saved as 192KHz these files allow for high resolution editing. Useful for impact sounds in cinema, games or documentary, but also for cartoon sounds or even creature sounds as many of the recordings contain vowel-like screeching and scraping.

    Imagine a scene where a rope is about to break over an edge, an object being torn by a huge cable, a wooden structure about to collapse under stress and so on… Our brain is triggered by those rattling sounds or spine-breaking cracks coming from little fibers being split apart, parts of the structure creaking, wires scraping over edges…

    These sounds can be perceived as delicate but have a great psychological impact as we interpret these and know what is about to happen. So suspense is built with both background and close-up sounds. Useful when building tension, when creating a sense of upcoming climax, these sonic elements will work out to amplify the details that are often important but not always visible for the eye.

    All the source material and recording are acoustic, there are no digital effects applied. This guarantees natural organic harmonics, even way beyond our hearing. Pitching down the 192 KHz files will let you discover another collection of sounds!

     

  • This pack includes 13 magic sounds, including fireball, water, lightning, curse and healing spells. Elevate your game’s enchanting atmosphere instantly with this expertly crafted sound collection.

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  • Introducing “Presage – Boutique Horror Instrument,” our inaugural Kontakt Instrument designed to evoke spine-chilling terror and suspense. Featuring an array of meticulously crafted sounds including Dark Impacts, Slams, Attic Rumbles, Bowed Wood and Cymbals, Bells, Clock Ticks, Typewriter SFX, Drones and Atmospheres, Scrapes, Stingers, a Victrola Needle, and much more.

    Presage is a comprehensive toolkit for composers and sound designers seeking to immerse their audiences in a world of fear and unease. Every sound in this horror sample library is meticulously twisted and distorted, ensuring maximum impact in your compositions.

    The intuitive GUI boasts our signature “Trepid Knob,” a blend of compressors and transient designers that allows you to manipulate and distort sounds with ease. Additionally, our “Frenzy Knob” offers a choral effect tailored for maniacal delays of madness, while the “Fever Knob” adds saturation to further enhance the intensity of your creations. Unleash your creativity and unleash terror with Presage – your ultimate horror sound solution.

    Requires the full version of Kontakt 6.8.0 (or higher)

  • This is a remaster of our 1st library. Every sample has been reworked to punch harder and yet take less headroom. It now has 2243 unique sounds, 648 of these are brand new! That’s more than 2GB of content, running at 1:04:29.

    In this pack, you will find everything you need to create amazing Sci-fi impacts and whooshes. You have access to complex cinematic sounds, sources and FX to create your own unique stuff, a special folder of sub and transient heavy sounds to add oomph and punch to any sound, as well the star of the show: the Designed Weapons.
    Whether you are looking for a laser sword or an electric hammer, you will quickly find something ready to use in this pack. We have included 20 predesigned weapons complete with whooshes, hits and blocks variations. The 3 new weapons included also have more variations and some extra goodies such as parries or positive and negative blocks.

    Everything is in 24bit 96khz and uses the UCS naming convention.

    Have fun! :)

    AUDIO SUMMONERS

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