Break into game audio Asbjoern Andersen


Landing a job in game audio is not easy, and there's no silver bullet that'll magically make it happen. However, there are some key things you can do to that'll greatly increase your chances.

Adam Croft has just released a book called Quit Aspiring, a guide to help you break into game audio - and below, he shares 4 fundamental things you can do to make that game audio dream a reality:


Written by Adam Croft. Bonus: Also comes with lots of resource links to further help you succeed in sound.
Please share:

 

Hi friend, if you don’t already know me – my name is Adam Croft (no relation to Tomb Raider, but at this point it would be more fun if there were) – and I have the pleasure of writing to you because Asbjoern is super awesome and asked me to.  I might be worth listening to (up to you, of course) as I’ve worked in various forms of audio for the last decade, and helped bring titles to life for companies like Bungie, Turn 10 Studios, 343 Industries, etc.

You and I are about to have some fun – especially if you’re interested in breaking into game audio for the first time.  I know there are a bunch of you who think it would be super awesome to design sounds for games (spoiler alert: working on games is fun) but are frustrated because there’s not exactly a clear step-by-step roadmap to get there.

If you’re scared, frustrated, confused, lost, have huge dreams – but know deep down that you’re talented and just need an opportunity – I have great news for you that doesn’t involve browsing Reddit for advice at 1am… You’ve already got the roadmap you need.

No, seriously, I’m not kidding.  You do!  So, let’s dive in – I’m going to tell you a bunch of stuff you’ve already heard before, but you definitely need to hear again.

Oh, and if what I’ve got to share with you below hits you like a ton of bricks – I elaborate in-depth on all of it in my book Quit Aspiring.

Do the Work


At one point in my life, and career, I had a hard time finishing any project I was super personally passionate about.

I could go to work and help bring the creative visions of others to life – no problem.  But my own ambitions?  Nearly impossible.

I’m sure you know this story well – start one project, get a week (or maybe 2 days) in, hit a small wall, become enraptured by a new idea, repeat the cycle – you never get anything done.

Now I’m going to break your heart, because I know you’d like a sweet tip and a shortcut to just fix that forever.

But, there isn’t one.

I do have a method in my book that I use to defeat this cycle in myself – but my method or any other method all eventually end up at the same place:

Creative work is still work, and you need to do the work.

We imagine, because we’re passionate about our acoustical arts, that they’re always supposed to be fun.  We imagine something like “you’ll never work a day in your life if you love what you do”.

While that’s kind of true – none of us envies a janitor and we have way more fun than that job – there’s still parts of our work that are just downright taxing.

Some days your ears are just off, and you’re not hearing things right.

Some days you have to slog through data management and metadata.

Some days none of your software is working properly.

Some days you run into unexpected bugs, or just can’t create what you’re hearing in your head.

Some days, even, you disagree with your boss on what something should sound like and you need to do what they want.

None of those things are particularly easy, right?

But I know of no way to get “around” those hard parts.  You focus, and you get them done.  Everyone else arounds you loves you more the less you complain about them, too.

So, you can go browse the internet for plenty of “tactics” to make this part easier, you and I both know there are plenty.  But it simply comes down to figuring out how you tick, how to make yourself focus, and how you get to the finish line.

Then do it.

That demo reel, demo game, website, resume, and cover letter aren’t going to build themselves.  Nobody is going to do it for you, and nobody’s going to hand you the opportunity – everyone else is too busy with their own things!

So, it comes down to you, and doing the work.
 

Ship your stuff


Once you’ve convinced yourself to sit down and work for an extended period of time (I’m talking consistency over months, not a few days) then you’re going to run into your next problem – finishing.

This time I don’t mean preventing yourself from getting distracted.  I mean deciding on where to stop and committing to it.  It could be (and should be) a specific date, but it also could be a point where you reach “feature complete”.

The problem everyone has is that they’re too vague about what “finished” means.

You might need to complete 3 more sounds, but then you’ll find 3 more that you want to do to make your finished product that much better.

But we both know you’ll find 1 or 2 more after that.

This is your own personal version of “development hell” – where it never ends until you say it does.

There are a bunch of things wrapped up in this – but most of them revolve around ego and fear.  You absolutely want to make the best impression upon the world that you can, and you’re freaked out that you won’t.  You’ve put so much effort into this thing that you don’t want to ship and be let down when nobody cares, or somebody hates it.

So, you never ship.  It’s an avoidance mechanism.

First of all – ouch – look at what you’re doing to yourself!  You’re so scared about your incompetence that you’re more willing to bury your work than share it!  That’s a huge, huge bummer.

Second – you and I both know reality here.  Unless you ship your work, nothing is ever going to happen.

The second most important thing after doing the work, is shipping the work you’ve done.

If you’re working on a demo reel, or job application – you have 0% chance of getting hired if you don’t ship those things off, right?

I could state the obvious here and repeat “so get it done.”  But I actually have something else that can help you here.

There’s a really easy way to get beyond your fear of shipping out your work and making sure it’s 100% perfect.

Ship more work – ship all the time, as often as possible.

Another problem that a lot of you run into is simple idolatry of your work and ego.  You work on one piece for so long, with so much effort, that a large amount of your identity as a creative individual is wrapped up in your project and its hopeful success.

What I mean by that is, if it fails – you feel like you are a failure.

That could not be any further from the truth, but I understand where you’re coming from and I’ve felt that way before.

The easiest way I’ve found to prevent that is by radically increasing the amount of content you put out.

For example, I ship blogs at my website every week.  Sometimes I get asked to create additional content by others (like what you’re reading right now).  I’ve written 2 books, created multiple pieces of software, and worked on ten years of audio projects.

If you create so much that no one piece can define you and your story, your ego and identity become less fragile and are not a problem.

You might hear things like “you need to put in 10,000 hours to master a skill” or “you need to fail and suck in order to get good at something”.  You can distill all of that down into simply “ship more and worry less about what you’re shipping”.

Believe me, you’re smart and you’ll know when something you’re shipping requires a little bit more time and effort to get right.

But your demo reel is not that project.  It’s simply a showcase of where you’re at right now, and if you’re not great – you still need to finish it and then work to make it better.
 
 


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

 

Latest releases:  
  • Cars Hyundai Kona Electric Car Play Track 428 sounds included, 98 mins total $100

    An electric car sound library with a range of FX from the Hyundai SUV, Kona.

    The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.

    It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.

    Multiple FX on each track – recorded in Sydney, Australia

    Add to cart
  • Cars Car Interiors Play Track 430 sounds included, 14 mins total $69 $38

    car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!

    Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:


    car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend

    and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
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  • Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included From: $119 From: $95.20

    ENORMOUS SOUNDING PERCUSSIVE HITS

    CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.

    With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.

    CINEMATIC STRIKES – CONSTRUCTION KIT:

    FLEXIBLE SOUND DESIGN TOOLKIT

    The Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.

    PERSPECTIVE & RHYTHM

    Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.


    Files: 618 • Sounds: 3708 • Size: 13 GB


    CINEMATIC STRIKES – DESIGNED:

    MAXIMUM PUNCH – AND THEN SOME

    CINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.

    From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.

    This package is particularly useful for filmmakers and trailer sound designers.


    Files: 108 • Sounds: 432 • Size: 1.4 GB

    CINEMATIC STRIKES BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 726 • Sounds: 4140 • Size: 14.6 GB
    Included sounds – keywords:

    BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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  • Destruction & Impact Implosion Play Track 42 sounds included $100 $70

    Implosion is a sound effects collection of buildings being destroyed with explosives. It features 10 unique building implosions recorded across the country.

    Each implosion was recorded with 4 to 14 channels of audio. To offer multiple perspectives, mics were placed as close as 150ft (~50m) and as far away as 2000ft (~600m) from the various explosive demolitions.

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  • Drones & Moods Audible Silence Play Track 105 sounds included, 170 mins total $80 $64

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    Recorded using the JrF C-Series contact microphone, these recordings capture the metallic resonance of wind with natural ebbs and flows.

    All sounds were recorded using the JrF C-Series contact microphone stereo pair and Sound Devices Mix-Pre 6.

     

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A Sound Effect Turns 5:
Get wild deals on sound effects right here


Crazy 1-day only deals:
Interested in any of these offers? Better get them while you can, as the discount is reduced by 20% every day, over the next few days:
  • Aircraft - Jet/Propeller Planes B-25 Mitchell Play Track 115 sounds included, 71 mins total $199 $99.50

    A large collection of authentic B-25 flybys, takeoffs, landings, taxis, startups, and shutdowns with both internal and external perspectives – for a total of 71 minutes of recordings.

    This library was over 8 years in the making, and is the refined result of more than 30 field recording expeditions, including one recorded aboard a B-25 during flight. All sounds have been extensively quantified with metadata (action, event length, relative speed, perspective, microphone pattern, and much more) which will make it an ideal resource for those working in audio post production.

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  • Cars Cars In Motion Play Track 561+ sounds included, 340 mins total $150 $75

    The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.

    From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.

    The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.

    Here are the cars included in this library:

    • Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
    • Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
    • BMW 114i E87 – 20 files – 10 minutes
    • BMW 530D E60 – 55 files – 21 minutes
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    • Excavator MF 860 – 30 files – 20 minutes
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  • City Life Nature Ambients Bundle Play Track 263+ sounds included, 683 mins total $160 $80

    This bundle includes 4 different libraries.

    The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.

    The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.

    The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.

    Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.

    Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.

    You can see the metadata and sound list below.

    50 %
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    Ends 1574463599
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  • Environments Rare Winds Play Track 102 sounds included, 233 mins total $149 $74.50

    From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!


    This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.

    Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)


    These were recorded either in urban settings, countryside, or complete wilderness.

    Included is a set of useful synthesized, tonal, and designed winds.

    The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.

    WHAT’S INSIDE:

    • 102 stereo files
    • Highly focused and meticulously edited sounds
    • Ready to use Loop
    • Urban area and Wild area
    • Useful Designed & Synthesized Wind Sounds
    • Recordings from the Boreal region (North) in Iceland & Canada
    • Recordings from the Austral region (South) in Argentina & Chile
    • Recordings from Islands in Greece & Canada
    • Recordings from the desert in Marocco
    • Abandonned houses and shelters
    • Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
    50 %
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    Ends 1574463599
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Need specific sound effects? Try a search below:
 

 

Stand Out


“Be unique!”

“You have to stand out in a crowded market!”

“It’s so hard to get work if you’re not doing something special!”

You’re going to hear things like this when you decide to dive into game audio.  Here’s the response you’re going to have:

“Well, HOW THE *#($)! AM I SUPPOSED TO DO THAT?!”

The emphasis with all-caps is mine.  You’ll identify with it if you’ve been at this a while and gotten nowhere – you’re probably fairly frustrated.

Here’s what’s funny to me about this in regard to sound designers.

Almost all of you crazies think of the exact same thing to do when it comes to being unique.

The trendy thing today, as of this writing?  Learning implementation.  So many young hopeful sound designers come to me and ask about programming and implementation because they’re worried they can’t get a job on their sound design alone.  You’re all convinced that if you know how to use middleware well and/or code – you’ll be an instant-hire.

So, let me straighten this out – learning middleware is great for you to know.  If you’re hoping to be a sound designer, forget about coding.

But none of those things makes you super unique or special, especially as a sound designer.

Instead, you should be doing everything you can to make your sonic fingerprint unique.  You should also be creating special ways to present your work.  This is where you should be going crazy and embracing your creativity!

I’ve remarked to a few sound designer friends that I’m honestly surprised that more sound designers don’t make effects libraries – like things you see here at A Sound Effect.

(Before you go lose your mind and respond to me about how the quality of sound libraries is diminishing and it’s a giant race to the bottom in terms of quality and price – hear me out…)

I’m of firm belief that if you put out your work to sell it (and did sell it), that you would stand out significantly amongst your peers.  I did this myself, just with programming instead of sound design.

But you can screw that idea up incredibly easily.  No, I don’t mean by putting out crappy work or not getting your files tagged correctly.

I mean that – if you take that idea I just presented (please do) – you need to create it for the right market.

If you’re going to make sound libraries for sound designers – I think you’re shooting yourself in the foot.  There are companies who do that professionally, and it requires a lot of work.  It requires heavy research of what sound designers are missing, and what they simply cannot record themselves.

Unless you live in an incredibly unique area – you’re probably not going to make your mark by selling city ambiences to sound designers.  Sorry.

You can make this tremendously easier on yourself by making things for the market that actually buys your work in the first place – game developers and video editors.

There are a huge number of independent game developers and video editors that want sounds they can simply drag and drop into their projects.

It’s your job to find them (there’s plenty of online forums if you don’t live in a city where these people are), find out what sounds they could use, and then rip them out fully polished.  Who cares if they’re not perfect?  Who cares if it’s impossible to make sure they sit in a mix right?  That’s not your job at this point.

Your job is to simply make things that other creatives want to use.  Then you can turn to potential employers and say, with confidence:

“Yes, I can the sounds your game needs.  Yes, I know how to work your middleware.  Oh – and by the way – as proof of this here’s my demo reel, and I’ve also sold a small sound library to independent game developers and video editors.”

Saying something like that, you’ve proven you can do the work fine.  Everything from there is a matter of how well you fit with the company.
 

Shake Hands


The last thing I have to offer you is this – get out and meet people.

Most of you see yourself as introverts.  You’re freaked out of walking into a room full (or mostly full) of people that you don’t know and getting to know them.

Again, I have a whole section of my book on step-by-step ways of going about doing this successfully.  Here though, I’ll leave you with two things.

First, when you go to “network”, it’s much easier than you might imagine.  Most of you hate talking about yourselves and feel like self-promotion is weird or you don’t know what to say because you don’t know anything about these other people.

That’s actually a huge blessing.

Instead of talking at others – all you need to do is ask questions and listen intently.  A few questions deep and you’ll be off to the races.

Oh, and don’t start out with this: “So what do you do?”

Your only response to whatever they say is going to be “Oh, cool…”  That’s essentially saying “That’s nice, but I don’t really care.”

You must be honestly interested in what they respond with.  For example:

“How long have you been coming here?”

No matter what they say you can easily respond with

“Oh awesome – how did you find out about this event?”

Which you can follow up with

“Neat!  How have these events been helpful and beneficial to you?  I’m trying to find my way around.”

Continue down the path that your conversation partner presents and ask more questions about what they have to say.  You’ll learn a ton, and they’ll fall in love with you too!

Second, you need to be very wary and careful about what events and meetups you actually show up to.

Let me make this super clear: going to audio meetups is a great way to make friends, and a bad way to get a job.

Audio people, especially when working independently, don’t hire audio people.  The only way to get hired by audio people is if the company is large enough, or if a friend of yours has too much work and needs to hand some off.

Instead, make sure you get to game development meetups.  Go to meetups with independent developers, or game engine-based meetups, or game jams, or VR/AR technology meetups.  Meet the people who don’t do what you do, because those are the people who will hire you – they need help!
 

Shameless Self-Promotion


If you’ve read any of this and thought “ugh, I KNOW this stuff and I’m just not doing it”, I’d love it if you reached out to me.  You will likely also find my book, Quit Aspiring, super helpful.

I wish you the best of luck on your journey, and hopefully we’ll connect in the near future!

A big thanks to Adam Croft for sharing his insights on how to get into game audio!

 

Please share this:


 


 
 
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:
 
 
  • Environments Rare Winds Play Track 102 sounds included, 233 mins total $149 $74.50

    From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!


    This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.

    Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)


    These were recorded either in urban settings, countryside, or complete wilderness.

    Included is a set of useful synthesized, tonal, and designed winds.

    The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.

    WHAT’S INSIDE:

    • 102 stereo files
    • Highly focused and meticulously edited sounds
    • Ready to use Loop
    • Urban area and Wild area
    • Useful Designed & Synthesized Wind Sounds
    • Recordings from the Boreal region (North) in Iceland & Canada
    • Recordings from the Austral region (South) in Argentina & Chile
    • Recordings from Islands in Greece & Canada
    • Recordings from the desert in Marocco
    • Abandonned houses and shelters
    • Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
    50 %
    OFF
    Ends 1574463599
    Add to cart
  • City Life Nature Ambients Bundle Play Track 263+ sounds included, 683 mins total $160 $80

    This bundle includes 4 different libraries.

    The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.

    The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.

    The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.

    Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.

    Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.

    You can see the metadata and sound list below.

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  • Cars Cars In Motion Play Track 561+ sounds included, 340 mins total $150 $75

    The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.

    From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.

    The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.

    Here are the cars included in this library:

    • Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
    • Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
    • BMW 114i E87 – 20 files – 10 minutes
    • BMW 530D E60 – 55 files – 21 minutes
    • BMW F12 640D Gran Coupe – 87 files – 49 minutes
    • Excavator MF 860 – 30 files – 20 minutes
    • Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
    • Renault Kangoo 1.6 16V – 71 files – 32 minutes
    • Renault Master II 2.8 dTi – 21 files – 13 minutes
    • Renault Master F3500 dCi135 – 30 files – 12 minutes
    • Tractor Case II CX90 – 15 files – 10 minutes
    • Volkswagen Golf II – 26 files – 13 minutes
    • Other Cars – 60 files – 23 minutes

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Cars Hyundai Kona Electric Car Play Track 428 sounds included, 98 mins total $100

    An electric car sound library with a range of FX from the Hyundai SUV, Kona.

    The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.

    It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.

    Multiple FX on each track – recorded in Sydney, Australia

  • Cars Car Interiors Play Track 430 sounds included, 14 mins total $69 $38

    car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!

    Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:


    car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend

    and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
    160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!

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  • Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included From: $119 From: $95.20

    ENORMOUS SOUNDING PERCUSSIVE HITS

    CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.

    With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.

    CINEMATIC STRIKES – CONSTRUCTION KIT:

    FLEXIBLE SOUND DESIGN TOOLKIT

    The Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.

    PERSPECTIVE & RHYTHM

    Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.


    Files: 618 • Sounds: 3708 • Size: 13 GB


    CINEMATIC STRIKES – DESIGNED:

    MAXIMUM PUNCH – AND THEN SOME

    CINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.

    From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.

    This package is particularly useful for filmmakers and trailer sound designers.


    Files: 108 • Sounds: 432 • Size: 1.4 GB

    CINEMATIC STRIKES BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 726 • Sounds: 4140 • Size: 14.6 GB
    Included sounds – keywords:

    BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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  • Destruction & Impact Implosion Play Track 42 sounds included $100 $70

    Implosion is a sound effects collection of buildings being destroyed with explosives. It features 10 unique building implosions recorded across the country.

    Each implosion was recorded with 4 to 14 channels of audio. To offer multiple perspectives, mics were placed as close as 150ft (~50m) and as far away as 2000ft (~600m) from the various explosive demolitions.

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  • Drones & Moods Audible Silence Play Track 105 sounds included, 170 mins total $80 $64

    The eerie sound of wind resonating through wires, fences and abandoned buildings.

    Recorded using the JrF C-Series contact microphone, these recordings capture the metallic resonance of wind with natural ebbs and flows.

    All sounds were recorded using the JrF C-Series contact microphone stereo pair and Sound Devices Mix-Pre 6.

     

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