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

  • Animal Sound Effects Animal Hyperrealism Vol III Play Track 1711 sounds included $136

    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.
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  • – Evolved WATER Sound Library


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  • THE COMPLETE JUST SOUND EFFECTS COLLECTION
    Introducing the JSE Everything Bundle, your one-stop-shop for all your audio needs. This bundle includes every JUST SOUND EFFECTS sound library ever created by our team of sound designers and field recordists, giving you access to an extensive collection of high-quality sound effects.

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  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
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    STEAMPUNK VINTAGE MACHINERY AND MECHANISMS introduces a fresh sound palette for steampunk soundscape of machinery and mechanisms that sound huge, gritty and full of character, totaling 1454 sound effects.
    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
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    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
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    WHAT SOUND PROFESSIONALS SAY:

    Philip Eriksson – Audio Director (It Takes Two, Battlefield V, Star Wars: Battlefront I & II)
    “Slava has some pretty kick ass sound libraries!”

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

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

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

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

    Shane Tetro – AAA Sound Designer (Remnant II)
    “Slava’s libraries feature high-quality, adaptable recordings and designs. There is plenty to dig through in every pack, making each library extremely dynamic for various applications. Their exceptional textures have significantly enhanced my workflow; consider me a fan!”

    Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
    “Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
     
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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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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:

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  • Realtime Pitchshifting PlugIn version 2!

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    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.

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    technical specifications

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    • 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

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  • 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
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    Warmth, harmonics, color and dynamics

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    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 $136

    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.
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  • 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 $55.20

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    Both designed sounds and source recordings:
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    • Auras, mecha, beams, blasters, spells, explosives and more! 350+ sounds!

    • Tons of source material for experimentation

    • Expert crafted metadata

    • Vintage Anime PDF

    20 %
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    Ends 1735599600
  • 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:
 
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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:

  • 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
    Snow Floey Footsteps Demo

     

    *Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.

    50 %
    OFF
    Ends 1734217199
  • 390 Anime Epic Combat Sound Effects! This sound effect album is excellent for Anime-inspired games, Japanese fighting video games, and more! This collection of 390 sounds features a wide range of combat impacts, skills, and whooshes. In addition, we also designed many booms, drop bass, distortion, risers, and stingers to intensify the epicness and brutality of any combat moves! So supercharge your fight scenes and embark on an action-packed adventure now!

    What’s inside the pack?
    Combat Hits (106)
    Combat Skills (24)
    Combat Stun (11)
    Combat Epic (126)
    Designed Boom, Drop Bass, Distortion, Risers, and Stingers (95)
    Misc and Mutation (14)
    Whooshes (14)

    Anime Epic Combat Sound Effects: Behind the Scenes / Making of | WOW Sound
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  • This collection features 150 wolf and coyote sound effects.  This library includes howls, roars, barks and more from single and multiple coyotes and wolves.

    These sounds have been handpicked from the Sound Ideas General HD collections, Series 6000, Series 1000,  Just Birds & Animals and Wild World of Animals libraries, as well as the Digiffects Library and the Hollywood Edge Animal Trax, The Edge 1 & 2, Premiere Edition and Animal Planet libraries.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • The Animal Symphony – Flight of the Bees was made possible by the collaboration of Mieles Sandrita, who opened their doors to us and provided exceptional care throughout the recording process.

    This sound library offers 55 high-quality audio tracks, each with multiple variations meticulously captured to ensure unmatched sound quality. The recordings are organized with consistent nomenclature, making it easy to combine or swap takes depending on the needs of your project.

    Recording bees in motion posed a unique challenge, as they kept flying around the microphones, and tracking them accurately was virtually impossible due to the number of bees present. Still, we managed to capture complete swarm environments, including tracks with predetermined durations and continuous loops. Some takes can be combined, as on occasion a bee remained within the capture radius of all microphones simultaneously.

    Most of the fluttering sounds are available individually so you can create your scene according to your preferences. Additionally, the sounds are not pre-panned, allowing for complete flexibility in adjusting them to your mix.

    The recording was done with high-end equipment, such as the Sennheiser MKH 8050 microphone, the Sanken CO-100K and a Zoom H6 recorder to capture stereo sound. Thanks to ultrasonic capture, by lowering the pitch of the recordings, a depth and frequency richness is maintained ideal for creative uses, such as the creation of spaceships, jet engines or any sound design.

    The tracks were recorded at 24-bit and 192 kHz / 96 kHz, guaranteeing professional quality in every detail.

    Finally, all recordings have been carefully edited to remove external noises, such as birds, wind, people or footsteps, ensuring a clean experience ready for use in any professional production.

    Ideal applications:
    Video games: Add realism and depth to the natural environments of your games.
    Cinema and Documentaries: Enrichment of the audiovisual product with authentic sounds.
    Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    Total audios: 55 (224 Individually)
    Format: 192kHz – 96kHz/24bit
    Equipment used: Zoom F6 recorder with Sennheiser MKH 8050 microphone and EM258 capsule microphone, as well as a Zoom H6 recorder for stereo.
    Duration: 12m

    19 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1, FEL Clippy XLR EM272, Sonorous Objects SO.3 and JrF CSeries Pro+ 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.
  • Ambisonic Sound Effects Forest Atmos Play Track 130 sounds included, 517 mins total From: $129

    FOREST ATMOS is an immersive sound library recorded in 7.0.2 cinematic format with our exclusive array: the Atmos Tree.

    Experience the sounds of nature in this new immersive adventure with 8+ hours of recorded material distributed across 130 files.

    Sound designers Mélia Roger and Grégoire Chauvot have explored the forests of France over the course of 3 years in order to record the diversity of their soundscapes : the dawn chorus during springtime, the trill of insects in the heat of the summer, the quietness of an autumn night or the subtle crackling of frozen trees in winter…

    The library is perfectly suited for DOLBY Atmos mixes.  It also contains extensive metadata and is UCS compliant

     

     

     

     

  • The Door Slam Library 2 includes 10 types of metal, wood, and plastic door sounds from a variety of domestic locations.

  • The Door Slam sound effects library is a small collection made from a recording of a big door in a school building hallway.


   

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