Game Audio GDC 2019 Asbjoern Andersen


Did you miss GDC 2018 (or do you just want to relive it)? Good news: Colin Andrew Grant shares his detailed insights and experiences from this year's major game audio event right here:
Written by Colin Andrew Grant
Please share:
 

This year marked both my second GDC and my second year working in the game industry. Quite a bit has changed since I first walked the halls of Moscone: I graduated from a postgraduate program, moved to L.A, and tentatively began my career as a freelancer. Though still nervous about attending such a massive convention meant for interacting with others after a year of mostly talking (yelling) at my DAW, I was excited to make new connections, meet up with old friends, and reflect upon what has changed and what has stayed the same for both myself and the industry at large.

SUNDAY

Though the conference did not officially begin, Designing Sound hosted a meetup the night before. Meeting at the Broken Rack Bar, it was a low key hang to slide everyone into GDC mode. What was special about this meetup was that Designing Sound and UVI prepared tours of the Vintage Synth Museum. Being able to play around with a Wurlitzer 200A and Roland TR-808 among other synths, I can see why synthheads consider them addicting to collect. It was a fun time of making bleeps and bloops that ended fairly early. We all needed our rest for the lengthy week ahead.

MONDAY

Damian and Anton stand in a crowded coffee shop hosting their podcast.Bright and early Monday morning at 7AM, Game Audio descended on Sightglass Coffee for the Game Audio Podcast led by Anton Woldhek and Damian Kastbauer. From Monday to Saturday we all (tried) to wake up and talk about what we learned the previous days, what we wanted to learn the day of, and any other topic that crossed our minds. I then attended a small round table led by Power Up Audio. There they shared tips for how to work with a partner, interact with potential clients, and how to pitch a reel for a bid. You’ll notice a common thread here of members of the game audio community sharing information and their time for free. I then relaxed on the second floor of Moscone Center West, playing games at The Mild Rumpus. One game that really stood out was Small Talk by Pale Room. With stunning art and gentle music, It’s the kind of intimate game that made me want to explore the characters and their thoughts forever. Later that night, we met up at the Terroir Wine Bar for an informal game audio meet up. The bar was a quiet reprieve from the noise of GDC, though it was filled to the brim with bodies and overflowed into the cool streets of San Francisco. It was a relaxing way to start off GDC since the conference floor was yet to be open and there were no audio talks that day. Tuesday would mark the beginning of rooms packed with conference attendees, raring to learn more about how sound works in games.

TUESDAY

This year, I made the decision to expand the scope of the talks that I attended beyond just audio. Though last year it was great to get acquainted with the community, I was told by multiple GDC veterans that there’s more to life than just audio. Since we have to interact with other elements of the industry at work, it only makes sense to do the same with education. The first talk I attended on Tuesday was “Intensely Practical Tips for Growing an Indie Studio”. There were two main reasons for me attending this:

1. Understanding what it takes to run an indie house will help me understand what many of my clients are going through when we’re not talking about sound.

2. I would love to one day run my own audio service studio, so the lessons being taught were incredibly applicable to my long-term career plans.

Given by Alexis Kennedy of FailBetter Games and Weather Factory, he detailed the need for studios to write down mission statements and the core pillars that define them. Whether it’s making money, being heavily narrative, or relying on a core set of beliefs, knowing what you want to focus on and understanding that those pillars may shift as the company grows can give an aimless studio direction.

After that incredibly enlightening talk I strapped up my boots and attended Audio Bootcamp XVII. The first session that I attended was “Programming Composers and Composing Programmers” headed by Victoria Dorn of Sony Interactive Entertainment and “Adding Punch to Your Sounds” by Gina Zdanowicz of Serial Lab Studios. Like many of us, though I’ve dipped my toe into programming, the vast ocean of code that exists has the ability to fill me with existential dread. Dorn’s talk was incredibly informative and broke the basic building blocks into very digestible parts. The second half of her talk was geared towards programmers interested in working with music and sound. Though obvious in hindsight, it’s easy to forget that words such as transient and downbeat aren’t part of most people’s lexicon. It’s refreshing to see an effort made to have talks be interdisciplinary and bridge the gap in vocabulary.

Gina Zdanowicz’s talk was focused giving impact to our sounds, allowing them to cut through the mix. In this talk, Zdanowicz gave many tips and plugin suggestions such as making the transient sharper while lowering the rest of the sound in order to give impact while not raising the levels. Giving the sounds movement with tools such as Tremolator and UHBIK’s frequency shifting tool can give the sounds character and keep them interesting over time.
 


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Latest releases:  
  • Environments Nature Essentials Play Track 139 sounds included, 220+ mins total $219

    THE COMPLETE NATURE AMBIENCE TOOLKIT
    NATURE ESSENTIALS is the first SFX library from a series of absolutely stunning nature recordings by Emmy-winner and nature recording genius Gordon Hempton. Hempton has searched the globe for more than three decades to record nature at its most pristine.

    INCLUDED SOUNDS – KEYWORDS:
    NATURE, WIND, THUNDER, RAIN, INSECTS, SURF, TROPICAL FORESTS, DECIDUOUS FORESTS, OCEAN SHORES, PRAIRIES, WETLANDS, CANYONS, DESERTS, MAMMAL, ESSENTIALS, BASICS, NATURAL, SOUNDSCAPES, WILDLIFE

    PREMIUM SELECTION OF NATURAL SOUNDSCAPES

    NATURE ESSENTIALS offers all the necessary ingredients to immediately produce stunning natural soundscapes. The sonic palette includes wind, rain, thunder, streams, surf and a wide selection of ambiences and wildlife vocalizations. These sound files are unmixed so you can confidently present actual places or creatively mix something uniquely yours.

    USEFUL CATEGORIES AND GUIDES

    In addition, these files are embedded with metadata offering geographic location, the bird species or animals that are heard, plus advice on how to use a particular sound to achieve best results.

    This Library is also part of The Complete Quiet Planet Bundle.

    Libraries from Quiet Planet are covered by a special EULA - read it here.
    Add to cart
  • The scary and creepy creature sounds you`ve been looking for your projects.

    Dark Creature Sounds is a creature sound effects library created following the highest standard to provide the maximum quality. The perfect sounds for your game, film or media project.

    Includes a variety of roars, groans, hisses, grunts, warning, screeches, throat, breaths, hurt and death sounds from monsters, golems, zombies, dragons, dinosaurs, devils, cyborgs, mutants and other world creatures.

    Ready to use and royalty free sounds.

    TECHNICAL INFO:
    • Number of files: 116
    • Format: WAV 192kHz/24Bit Stereo
    • Includes Metadata

    Add to cart
  • Environments Tick Tock Play Track 25+ sounds included, 25 mins total $26

    Tick Tock contains a wide range of loopable clock ticking sounds, meticulously crafted from recordings of antique clocks, machines, victorian equipment, the human body, and household items by our award-winning Sound Designers.

    These sounds are perfect for adding unique clock effects to your library and projects.  All effects were recorded in 24Bit 96kHz, allowing for further sonic manipulation.

    If you’re tired of using the same, mundane clock sounds, then this library is for you! Tick Tock is ideal for use in Film, TV and Game projects, and will make a perfect addition to your sound design arsenal.

    Add to cart
  • Environments Riparian Zones Play Track 132 sounds included, 720+ mins total $219

    WATER CLOTHED IN VEGETATION – A UNIQUE ACOUSTIC ENVIRONMENT
    RIPARIAN ZONES are one of the 15 terrestrial biomes that characterize the Earth’s thin green mantle. They border streams and rivers. These soundscapes are characteristically diverse and rich with reflections, providing wonderful opportunities for sound designers to attract audience attention as well as take them on a sonic journey.

    WHAT’S INSIDE

    INCLUDED SOUNDS – KEYWORDS

    RIPARIAN ZONES, NATURE, RIVERS, RIVERSIDES, BIRDS, BIRDSONGS, STREAMS, FROGS, FLOWING, WATER, INSECTS, THUNDERSTORMS, CRICKETS, BABBLING, WATERFALLS, RUSH, CALLS, GURGLE, TRICKLING, ROLLING, SPLASHY, DROPS, DRIPS, TERRESTRIAL, BIOMES, REFLECTIONS, WILDLIFE, AMBIENCES, ATMOSPHERE

    SONIC DIVERSITY – INCREDIBLE RECORDING QUALITY

    Increased available water at the edges of streams and rivers allows for plentiful plant growth, resulting in added food and shelter, which, in turn, increases wildlife diversity and translates into greater sonic diversity. An added plus is higher humidity. Humid atmospheres are more elastic than arid atmospheres and therefore propagate sound faster and more clearly to your microphones, resulting in excellent sound quality.

    EXCEPTIONAL REVERBERATION

    From a sound designer’s perspective, these lush and varied locales also often feature a unique tubular echo due to overhanging vegetation and the landforms cut by the flowing waters. Factor in the much higher biodiversity than in adjoining habitats and you can generally count on mesmerizing soundscapes that will delight your audiences.

    This Library is also part of The Complete Quiet Planet Bundle.

    Libraries from Quiet Planet are covered by a special EULA - read it here.
    Add to cart
  • Environments The Complete Quiet Planet Play Track 1000 | 2250+ sounds included, 2700+ | 6360+ mins total From: $1,249

    EARTH’S MOST BEAUTIFUL & NATURAL SOUNDS – ALL IN ONE PACK
    THE COMPLETE QUIET PLANET® is one of the most extensive and meticulously recorded HD nature ambience sound libraries on the planet. It contains all our 17 QUIET PLANET® sound packs recorded all over the globe by Emmy-winner and recording genius Gordon Hempton – The Soundtracker®. This bundle will be an invaluable addition to your daily sound design resources as it is THE perfect toolkit for sound designers that appreciate absolutely magnificent and realistic ambience sounds for a professional production environment.

    THE COMPLETE QUIET PLANET® is available in two editions:
    COMPLETE STEREO & COMPLETE BASICS


    WHAT’S INSIDE

    THE COMPLETE QUIET PLANET® – STEREO

    THE LAST NATURE AMBIENCE LIBRARY YOU WILL BUY

    High quality nature and ambience sound effects are a real treasure when it comes to designing the backround ambience of a movie or game scene. If you’re looking for such sounds, you’ve just found the Holy Grail. With this package you’re ready for the next sound design decades.


    THE COMPLETE QUIET PLANET® – STEREO

    Contains all 17 stereo packs of our QUIET PLANET® nature series. You will have full access to the unique spectrum of these vivid regions with all their depth. It will definitely enrich your portfolio!

    TECH SPECS:

      Files: 2294
      Total Length: 106+ H
      Size: 108+ GB
      Format: WAV – 24bit – 48kHz / Windows + Mac


    THE COMPLETE QUIET PLANET® – BASICS

    1000 SELECTED SOUND FILES FROM ALL OVER PLANET EARTH

    THE COMPLETE QUIET PLANET® – BASICS features a thorough collection of 1000 stereo files from all 17 QUIET PLANET® nature packs.

    TECH SPECS:

      Files: 1007
      Total Length: 45+ H
      Size: 40+ GB
      Format: WAV – 24bit – 48kHz / Windows + Mac

    Libraries from Quiet Planet are covered by a special EULA - read it here.


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Thanks to everyone who set up the GDC ’18 Game Audio Mentoring, I along with many others, had the ability to meet with a veteran in game audio who donated their time at GDC for newer members to ask them questions. During lunch, I was able to meet with Adam Gubman of MoonWalk Audio to discuss topics such as branding, balancing multiple interests as a freelancer, and the importance of knowing oneself outside of their career.

After that insightful talk I jumped right back into the Bootcamp with Reel Talk talking about…well, reels! Matthew Marteinsson of Klei Entertainment and Kevin Regamey of Power Up Audio gave a hilarious yet insightful look into how and how not to make an appealing reel and website. Some specific takeaways: Label what you’ve done, showing some implementation work is now the standard, and make sure you’re spelling implementation correctly. After this talk was “Talking about Talking: Recording and Producing Well Crafted Dialogue” by Amanda Rose Smith. I’ve been doing increasingly more dialogue editorial so I was interested in hearing someone who’s involved in the whole dialogue pipeline. From file labeling techniques to warning us about the dangers of relying too much on LUFS (loudness units relative to full scale) in dialogue mastering, Smith gave a very concise talk about the recording and editorial process. This was the last presentation I was able to attend on Tuesday, since I had to prepare to table for a few games I worked on at the IDGA mixer. A frequent collaborator of mine, River Liu, was an IDGA scholar. Since we first met two Global Game Jams ago, I’ve always answered her call for more music and sound in her games. It was a fun event that focused on interacting with others, rather than loud music in dark places. I then headed over to the Game Audio Denizen Facebook group California Pizza Kitchen dinner, coordinated by the fabulous DB Cooper. After ending the night with Denny’s, it was time to call it night.

An 8-bit stylized map shows that attendees have traveled from around the world.

WEDNESDAY

One of my busiest days by far was Wednesday. I was able to attend part of the “What’s Next? A Game Audio MicroTalk Series”, a collection of ten short talks about varying experiences in the industry. Unfortunately, I had to leave for a meeting. I was actually able to attend GDC on a Conference and Summit pass thanks to XBox’s Jerry Lawson Grant for Career Development. Part of that grant included meeting other grant winners and members of the XBox team. I then went to the expo floor for a few minutes before it was time for the first day of CarouselCon! Organized by Matthew Marteinsson during lunch behind the Carousel, there are two mini-talks and then the floor is opened to anybody that wishes to talk. It’s a great time to learn about other points of view and maximize our learning during GDC.

The rest of the day was meetings until I attended the XBox Blacks in Gaming mixer. It’s important to build a community that fosters diversity in the game industry as well as spaces that allow those underrepresented to discuss successes and common problems. Following the BiG mixer, I went to the Unity Party. While incredibly impressive, it was also incredibly loud. I found that some of the most meaningful talks that I had there was outside the venue. With all of the parties and events happening, it can be difficult to remember that bigger and louder doesn’t always equal better.

THURSDAY

Thursday was an especially action-packed day for the game audio community. On top of the G.A.N.G (Game Audio Network Guild) Awards, an award show in which members of the community vote for the music, sound, and articles in game audio, A Shell in the Pit coordinated the second annual Game Audio Karaoke! But I’m getting ahead of myself. Thursday was another day on the expo floor for me. One of the first booths that I attended was Wwise’s. With the announcement of the Wwise 251 certification and the Wwise Adventure Game, there was quite a bit to learn about.

This year I was given the opportunity to volunteer at the G.A.N.G Awards. I wanted to be able to somehow give back to the community that offers so much, so I jumped at the chance to make the officers jobs a little easier. If you saw two people running up to Becky Allen and Bonnie Bogovich before the winners were announced and then scurrying away, then you probably caught a peak of me and Emily Pitts, a student at the San Francisco Conservatory of Music (my alma mater). A highlight of the night was when Bonny and Becky lead the audience in arpeggiating on the word GANG, lead by a kazoo. The standout winner was Will Roget, the composer of Call of Duty, who won 5 awards.

I had already lost my voice twice in two weeks, so I decided to opt out of karaoke and just mingle with others who stayed after the show.

FRIDAY

People sit around the Day of the Devs boothFriday was a bit more subdued compared to the last few days. Much of the same happened. Sightglass in the morning, CarouselCon in the afternoon. I chose to spend most of the day walking the expo floor, since it closed at 3PM. I spent quite a bit of time at the Day of the Devs showcase. Some games that really stood out to me were Harold Handibut: A Handmade Adventure Tale by Slow Games, Mosaic by Krillbite Studio, Knights and Bikes by Foam Sword, and Dead Static Drive by Team Fanclub. Friday night was the School of Video Game Audio meetup at the California Pizza Kitchen. With the convention fading away, it was a night of goodbyes.

SATURDAY MORNING

While everyone else was sleeping in or catching flights, members of the audio community dutifully met up at Sightglass Coffee one more time to reflect upon the week and set goals for the year ahead. This was a bit different than the past few days though. We expanded the conversation to topics such as unionization, inclusivity, privilege, and how we as a community can always do better to respect each other. While it’s easy to talk about how everything is fantastic and ride the GDC high, it’s sobering to remember that there’s always room for improvement and acknowledge toxic elements that still persevere. To quote Damian Kastbauer himself from a must-read Twitter chain: “We need each other to foster an environment of continuous improvement in order to change the culture. It is bigger than #GameAudio but it’s where we live and can affect change.”

We have a habit of marking our development as human beings with large, annual events: Birthdays, Holidays, and for those fortunate enough to attend consecutive years, GDC. The ability to honestly reflect upon growth while surrounded by colleagues and friends is a special thing that I try not to take for granted. Though GDC may be over and I’m drowning in business cards, I think I can officially call my second GDC a success as I prepare to make my third one even better.

The busy entrance of the Moscone Center North Hall.

 

A big thanks to Colin Andrew Grant for sharing his insights and experiences from GDC! We hope to see you there next year!

 

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THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:
 
 
  • Animals & Creatures Animal Hyperrealism Vol II Play Track Over 2000 sounds included $170

    Animal Hyperrealism Vol II is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 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: amur leopards, bottlenose dolphins, californian sealions, pacific walruses, red ruffed lemurs, owls, parrots, dwarf little fruit bats, hamsters, guinea pigs 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.
    A special 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 actually 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.
    Add to cart
  • City Life Shanghai Ambiences Play Track 65 sounds included, 199 mins total $79

    Shanghai is a fascinating and lively city, full of contrast – a mixture of old and new, with towering skyscrapers looming over winding residential lanes, with streets full of rattling old bicycles and electric scooters, with noisy trucks rolling alongside almost silent electric cars.

    The elevated highways that cross the city give certain areas a dense, constant rumble, while the city’s many parks offer a range of sounds, full of people and activity during the day, and generally quite empty at night – offering a diffuse, distant sonic perspective of the environment.

    This library contains many of the everyday sounds of the city, with a variety of on and off-street recordings, interior and exterior walla, park and bird atmospheres, restaurant interiors, traffic, and even a range of metro recordings. While some of this library’s sounds are quite specific to Shanghai, the majority could be used in other large city environments, particularly in but not limited to those cities where Mandarin is the most common language.

    All recordings were made with a pair of Lewitt LCT 540s microphones in an ORTF configuration. These microphones have extremely low self noise and a wide, balanced frequency response, allowing for the detailed capture of a range of sounds, from distant and quiet to close, loud and chaotic, from the deep rumble of engines to the supersonic screeching of brakes. Recorded at a sampling rate of 96kHz, these recordings contain detailed information above 20kHz, expanding the possibilities for sound manipulation by slowing and pitching down the recordings.

    Add to cart
  • Destruction & Impact Designed Fire Play Track 255 sounds included, 34 mins total $30

    Designed Fire features 255 cinematic fire sound effects, ambiences, swooshes, whooshes, fly-bys, drones, textures, glitches and more, that range from heavily designed to basic elements. It explores the further sonic realms of a powerful element.

    Created in collaboration with Thibault Csukonyi.

    Video Trailer

    Content Preview Video

    Designed Fire highlights:

    255 24bit / 96kHz WAV files / Meta-tagged (Soundminer)
    89 Swooshes / Wooshes
    75 Short elements
    29 Impacts
    28 Winds
    34 Textures

    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments Nature Essentials Play Track 139 sounds included, 220+ mins total $219

    THE COMPLETE NATURE AMBIENCE TOOLKIT
    NATURE ESSENTIALS is the first SFX library from a series of absolutely stunning nature recordings by Emmy-winner and nature recording genius Gordon Hempton. Hempton has searched the globe for more than three decades to record nature at its most pristine.

    INCLUDED SOUNDS – KEYWORDS:
    NATURE, WIND, THUNDER, RAIN, INSECTS, SURF, TROPICAL FORESTS, DECIDUOUS FORESTS, OCEAN SHORES, PRAIRIES, WETLANDS, CANYONS, DESERTS, MAMMAL, ESSENTIALS, BASICS, NATURAL, SOUNDSCAPES, WILDLIFE

    PREMIUM SELECTION OF NATURAL SOUNDSCAPES

    NATURE ESSENTIALS offers all the necessary ingredients to immediately produce stunning natural soundscapes. The sonic palette includes wind, rain, thunder, streams, surf and a wide selection of ambiences and wildlife vocalizations. These sound files are unmixed so you can confidently present actual places or creatively mix something uniquely yours.

    USEFUL CATEGORIES AND GUIDES

    In addition, these files are embedded with metadata offering geographic location, the bird species or animals that are heard, plus advice on how to use a particular sound to achieve best results.

    This Library is also part of The Complete Quiet Planet Bundle.

    Libraries from Quiet Planet are covered by a special EULA - read it here.
  • The scary and creepy creature sounds you`ve been looking for your projects.

    Dark Creature Sounds is a creature sound effects library created following the highest standard to provide the maximum quality. The perfect sounds for your game, film or media project.

    Includes a variety of roars, groans, hisses, grunts, warning, screeches, throat, breaths, hurt and death sounds from monsters, golems, zombies, dragons, dinosaurs, devils, cyborgs, mutants and other world creatures.

    Ready to use and royalty free sounds.

    TECHNICAL INFO:
    • Number of files: 116
    • Format: WAV 192kHz/24Bit Stereo
    • Includes Metadata

  • Environments Tick Tock Play Track 25+ sounds included, 25 mins total $26

    Tick Tock contains a wide range of loopable clock ticking sounds, meticulously crafted from recordings of antique clocks, machines, victorian equipment, the human body, and household items by our award-winning Sound Designers.

    These sounds are perfect for adding unique clock effects to your library and projects.  All effects were recorded in 24Bit 96kHz, allowing for further sonic manipulation.

    If you’re tired of using the same, mundane clock sounds, then this library is for you! Tick Tock is ideal for use in Film, TV and Game projects, and will make a perfect addition to your sound design arsenal.

  • Environments Riparian Zones Play Track 132 sounds included, 720+ mins total $219

    WATER CLOTHED IN VEGETATION – A UNIQUE ACOUSTIC ENVIRONMENT
    RIPARIAN ZONES are one of the 15 terrestrial biomes that characterize the Earth’s thin green mantle. They border streams and rivers. These soundscapes are characteristically diverse and rich with reflections, providing wonderful opportunities for sound designers to attract audience attention as well as take them on a sonic journey.

    WHAT’S INSIDE

    INCLUDED SOUNDS – KEYWORDS

    RIPARIAN ZONES, NATURE, RIVERS, RIVERSIDES, BIRDS, BIRDSONGS, STREAMS, FROGS, FLOWING, WATER, INSECTS, THUNDERSTORMS, CRICKETS, BABBLING, WATERFALLS, RUSH, CALLS, GURGLE, TRICKLING, ROLLING, SPLASHY, DROPS, DRIPS, TERRESTRIAL, BIOMES, REFLECTIONS, WILDLIFE, AMBIENCES, ATMOSPHERE

    SONIC DIVERSITY – INCREDIBLE RECORDING QUALITY

    Increased available water at the edges of streams and rivers allows for plentiful plant growth, resulting in added food and shelter, which, in turn, increases wildlife diversity and translates into greater sonic diversity. An added plus is higher humidity. Humid atmospheres are more elastic than arid atmospheres and therefore propagate sound faster and more clearly to your microphones, resulting in excellent sound quality.

    EXCEPTIONAL REVERBERATION

    From a sound designer’s perspective, these lush and varied locales also often feature a unique tubular echo due to overhanging vegetation and the landforms cut by the flowing waters. Factor in the much higher biodiversity than in adjoining habitats and you can generally count on mesmerizing soundscapes that will delight your audiences.

    This Library is also part of The Complete Quiet Planet Bundle.

    Libraries from Quiet Planet are covered by a special EULA - read it here.
  • Environments The Complete Quiet Planet Play Track 1000 | 2250+ sounds included, 2700+ | 6360+ mins total From: $1,249

    EARTH’S MOST BEAUTIFUL & NATURAL SOUNDS – ALL IN ONE PACK
    THE COMPLETE QUIET PLANET® is one of the most extensive and meticulously recorded HD nature ambience sound libraries on the planet. It contains all our 17 QUIET PLANET® sound packs recorded all over the globe by Emmy-winner and recording genius Gordon Hempton – The Soundtracker®. This bundle will be an invaluable addition to your daily sound design resources as it is THE perfect toolkit for sound designers that appreciate absolutely magnificent and realistic ambience sounds for a professional production environment.

    THE COMPLETE QUIET PLANET® is available in two editions:
    COMPLETE STEREO & COMPLETE BASICS


    WHAT’S INSIDE

    THE COMPLETE QUIET PLANET® – STEREO

    THE LAST NATURE AMBIENCE LIBRARY YOU WILL BUY

    High quality nature and ambience sound effects are a real treasure when it comes to designing the backround ambience of a movie or game scene. If you’re looking for such sounds, you’ve just found the Holy Grail. With this package you’re ready for the next sound design decades.


    THE COMPLETE QUIET PLANET® – STEREO

    Contains all 17 stereo packs of our QUIET PLANET® nature series. You will have full access to the unique spectrum of these vivid regions with all their depth. It will definitely enrich your portfolio!

    TECH SPECS:

      Files: 2294
      Total Length: 106+ H
      Size: 108+ GB
      Format: WAV – 24bit – 48kHz / Windows + Mac


    THE COMPLETE QUIET PLANET® – BASICS

    1000 SELECTED SOUND FILES FROM ALL OVER PLANET EARTH

    THE COMPLETE QUIET PLANET® – BASICS features a thorough collection of 1000 stereo files from all 17 QUIET PLANET® nature packs.

    TECH SPECS:

      Files: 1007
      Total Length: 45+ H
      Size: 40+ GB
      Format: WAV – 24bit – 48kHz / Windows + Mac

    Libraries from Quiet Planet are covered by a special EULA - read it here.
 
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