Game composer Winifred Phillips 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 Winifred Phillips, known for her scores on six of the biggest franchises in gaming: Sony Interactive Entertainment's LittleBigPlanet and God of War (2013), NCSOFT's Lineage, EA's The Sims, Ubisoft's Assassin’s Creed, and Creative Assembly's Total War. She's also known for her BAFTA nom'd score on SIE's Sackboy: A Big Adventure.
By Jennifer Walden and Asbjoern Andersen, images courtesy of Winifred Phillips
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The Composer Success Series – and what it’s all about:

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

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More interviews in the Composer Success Series:

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

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Winifred Phillips:


BAFTA nominated composer Winifred Phillips is one of the most successful and accomplished composers for video games. She is known for her compositional skill and stylistic diversity. Her dramatic large-scale works convey an “epic cinematic sound” (ScreenSounds) that “drives her music forward in grand orchestral fashion” (Film Score Monthly), while her more lighthearted scores are “captivating” (Washington Post).

Winifred has composed iconic music for titles from six of the biggest franchises in gaming: Lineage, Assassin’s Creed, LittleBigPlanet, Total War, God of War, and The Sims. She was recently nominated for a BAFTA award for music she composed for the smash-hit game Sackboy: A Big Adventure. To date, Phillips has composed music for over fifty video games.

Winifred’s scores have received numerous awards, including the Academy of Interactive Arts & Sciences Award for Outstanding Music Composition, six Game Audio Network Guild Awards (including Music of the Year), and three Hollywood Music in Media Awards. Her work has also been nominated by the NAVGTR Awards and the International Film Music Critics Awards.

Her music has also been featured in trailers for such blockbuster movies as Avengers: Endgame and Disney’s The Jungle Book. Her television work includes PBS’ NOVA, Anthony Bourdain Parts Unknown on CNN, the network sitcom It’s Always Sunny in Philadelphia starring Danny Davito, and the long-running Nature series on PBS.

Winifred has released fifty-nine albums. Her soundtrack album for the Legend of the Guardians video game was the first video game soundtrack album released by WaterTower Music – the film music record label of Warner Bros. Pictures.

Winifred is the author of the bestselling book A Composer’s Guide to Game Music (The Massachusetts Institute of Technology Press), which won a GMA Book Award Gold Medal from the Global Music Awards, a National Indie Excellence Book Award, a Nonfiction Book Award from the Nonfiction Authors Association, and an Annual Game Music Award from Game Music Online in the category of “Best Publication.” Singling out Winifred’s book for praise, film composer Harry Gregson-Williams said, “Winifred Phillips’ passion and understanding of this medium comes to life on the page and is a direct result of her vast experience and accomplishment in composing for video games.” Jon Burlingame, the film music reporter for Variety, hailed Winifred’s book as “a beautifully organized, intelligently written book about music for games,” and Film Score Monthly praised the book as “a touchstone academic achievement.”

As a recognized expert in the field of video game composition, Winifred has given lectures at the Library of Congress, the Society of Composers and Lyricists, the Audio Engineering Society, the Game Developers Conference, and the Montreal International Game Summit, among many others. Her music has been performed in celebrated concert halls around the world as a part of the Assassin’s Creed Symphony World Tour.

Learn more about Winifred’s work and awards at

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

When I decided that I wanted to pursue a career as a game composer, I spent a year composing music for a string of indie game projects that never got released. After that disappointing year, I knew I had to change my approach, so I started reaching out to the bigger developers and publishers. My chances of arresting the attention of a big game company were incredibly slim, but I felt like I’d been spinning my wheels in the indie-space for too long. It seemed like the time had come to try something different.

I felt like I’d been spinning my wheels in the indie-space for too long. It seemed like the time had come to try something different.

As they say, timing is everything. My info landed on the desk of a music supervisor at Sony Interactive, precisely when they were searching for composers to join the music team for God of War. I sent over some music samples from my previous projects (including a bunch of choral tracks I’d recorded for one of those unreleased indie games). After hearing those, the music supervisor hired me to join the God of War composer team.


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

I think that persistence has been incredibly important in my career. Obviously, music composition skill is crucial, but that doesn’t usually seem to be enough to help an aspiring composer breakthrough. Our creative gifts have to be supported by a sufficient level of obstinacy and endurance to get us past the lean times.

Our creative gifts have to be supported by a sufficient level of obstinacy and endurance to get us past the lean times.

There are, of course, go-to strategies. We can build professional websites for ourselves, post blogs about our work, and share videos showcasing our latest tracks. We can keep reaching out to development teams, we can attend conferences (virtual and actual), and we can grow our professional network.

With all these efforts, we’re essentially trying to get noticed while we’re waiting for a project to surface that might turn out to be our next gig. In the end, what we really need is some very good luck, some excellent timing, and a generous helping of fortitude that will enable us to keep on trying until the stars align in our favor.


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

Every game development team is very different. With that in mind, I’ve learned to be flexible and attentive. Does the team like lots of written communication? That’s great! In those circumstances, we as game composers get to read meticulous design documents, and share our progress with written reports that complement our music submissions.

Every game development team is very different. With that in mind, I’ve learned to be flexible and attentive.

On the other hand, maybe the team doesn’t like writing very much, and prefers teleconferences and phone calls? Awesome! We get to do regular face-to-face conversations in which all the details of the project are hammered out in moments of transient inspiration.

But maybe the team doesn’t like either of those approaches, and instead sends a succinct list of music asset requests without really wanting much feedback or communication from our end. And that’s great, too. We get to interpret their direction and internalize it at our own pace, from our own creative point of view.

If there’s any lesson I’ve learned, it’s to be constantly adaptable, and to never stop learning.

Whatever the team wants, we provide. If their needs change, we fluidly adapt. If there’s any lesson I’ve learned, it’s to be constantly adaptable, and to never stop learning. Just as the communication dynamics are highly changeable, so too are the creative and technical specifications that we’ll have to meet. Some development teams want their music to be traditionally linear. Some teams want highly adaptive music. The dynamic techniques may call for us to structure our music into a modest collection of segments and layers, or the strategy might have us preparing hundreds upon hundreds of music files. We have to be ready to enthusiastically embrace the music design and pour all our skill and creativity into it.


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

The milestone dates and deadlines are the most important factor in everything we do. How much time do we have to accomplish the task? Is it enough? How many hours a day will we need to put in to meet the deadlines? We must be as thoroughly professional and reliable as possible. Deadlines must always be met.

We must be as thoroughly professional and reliable as possible. Deadlines must always be met.

Apart from that requirement, the rest of the process can be fairly unpredictable. When I’m composing, I tend to shift my strategy from project to project. For some game scores, I lay down placeholder MIDI for an entire track using a simple piano instrument, and then jump into instrumental arrangement afterward.

When I’m composing, I tend to shift my strategy from project to project… I find it’s better to keep innovating new solutions, rather than relying on proven workflows.

Other times, I start with crucial solo instruments and write specifically for them, lacing the rest of the arrangement around them and working forward until the track is fleshed out.

On the other hand, in some projects I’ll focus exclusively on drums and rhythm first and let it drive all other composition choices. I think it’s important to be creatively limber because game music composition involves a lot of problem-solving. For instance, trying to make music emotionally satisfying from within an interactive framework is a complicated puzzle to solve. I find it’s better to keep innovating new solutions, rather than relying on proven workflows. Each game benefits from this sort of customized approach.


• What are your favorite sites and resources for composers?

Gamasutra (now known as Game Developer) is a great resource for understanding the needs and concerns of the game development community, and it helps us as game composers to keep abreast of news regarding industry events, important new releases, and thorny controversies within the industry. I also write a monthly blog there that focuses on issues pertaining to game music composition: Winifred Phillips’s Blog on Game Developer

The #gameaudio hashtag on Twitter can be a good resource, especially for those of us who would like to keep track of what other game composers are doing. Also, the Game Audio Network Guild maintains both a Facebook group and an annual awards program.

There are a number of books currently available about the art and craft of game music composition, including my own book, A Composer’s Guide to Game Music (published by the MIT Press).


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

In addition to my work as a composer, I’m also a classically-trained vocalist, and I use my voice often in my compositions. Adding my voice tends to imbue my recordings with unique personality, and I think this additional element has helped my music to attract notice.

… I’m also a classically-trained vocalist, and I use my voice often in my compositions.

I don’t use my voice in every project, and I don’t believe this element is the reason I became a successful composer. However, I’m certain that it has helped me at times to assert an individual style, as well as infuse my compositions with the sort of approachable warmth that a human voice can provide.

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


Highlights from A Sound Effect - article continues below:

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

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

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

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

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

    Library Review:

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

    Alex Previty

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

    Cinematic World features:

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

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

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

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

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

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

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

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



  • Realtime Pitchshifting PlugIn version 2!

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

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

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

    The key features of Elastique Pitch V2 are:

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

    technical specifications

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

    WIN | MAC

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

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

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

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

  • A crush on music

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

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

    Warmth, harmonics, color and dynamics

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

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

    Bring your sounds to life

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

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

    FabFilter goodies

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

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

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

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

    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these four mics, though in some instances an additional couple of CO100K was added to the sides.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Cold Weapon Sound Effects Swordfighter Play Track 479 sounds included $25

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

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

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

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

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

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

    • Tons of source material for experimentation

    • Expert crafted metadata

    • Vintage Anime PDF

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

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

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

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

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

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

    Pick your preferred version at the introductory prices below:

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


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

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A big thanks to Winifred Phillips for sharing her 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
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
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”
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.


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:

  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $47.40

    This SFX library contains a wide range of reactions and emotional responses varying from quiet crowds to roared battle cries to a large selection of exclamations generated by a group of passionate theatrical actors in indoor venues.

    Apart from the vocalizations, we’ve also included recordings of more unusual crowd ambiances like people walking around the mics, falling down, sitting down and getting up, jumping around, marching, or just being present in the space.

    Crowds library is split into the following two parts:

    Small Groups: Includes small groups of up to 30 people which you can layer together and quickly create the sound of any sized realistic groups of people.

    Large Crowds: Brings pre-designed, easy-to-use sounds of medium to large crowds in various types of reactions, moods, and surroundings.

    40 %
    Ends 1722031199
  • “The Shoe Collection: Dirt- Knee High Boot“ by Periscope Post & Audio, provides 22 high quality footsteps files in dirt with the knee high boot.  The audio files are recorded at 24bit, 192k with mono and stereo recordings.  The Sennheiser MKH-60 was used for the mono files with a slightly more distant mic placement than the stereo files, which were recorded with the Sennheiser MKH8050 and the Sennheiser MKH-30 near the shoe.  From different walking speeds, to jogging, sprinting, jumping, hard stops, scuffs, and more!  There are several performances with each file to fit the right action you need.  That’s a whopping 268 footsteps between the mono and stereo files!

    These sound files are also UCS metadata tagged

  • 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:

Explore the full, unique collection here

Latest sound effects libraries:
  • Environments & Ambiences Chimney Wind Play Track 30 sounds included, 93 mins total $7

    There was a massive storm going on outside and we could hear the wind from the chimney so we popped our field recording kit up and extended the microphones to as far as they would go up the chimney and pressed record. We managed to capture the low end and rumbles of the wind interacting with the chimney.

    We then tried adding some reverb on to the samples to give space and context which wasn’t exactly part of the plan for this sample pack but we thought it added something so decided to add these samples to the sample pack for no extra cost.

    Chimney Wind will give you enough audio to give your project the authentic sound of wind from a chimney stack, boosting your project to the next level. Chimney Wind has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples

  • Door Sound Effects Small Furniture Workshop Play Track 17+ sounds included, 52 mins total $15

    This library is recorded in a small furniture workshop where office furniture is sawn and created. We recorded the sounds of the factory so that they can be easily combined together to create a workshop of any scale.

    Here’s What We Recorded:

    • Large circular saw

    • Drill

    • Doors

    • General work noises

    • Industrial Spaces

    Microphones were placed at varying distances from the recording subjects. Many recordings were created using a LOM Geofon contact microphone.



    50 %
  • Rolling thunder, rain in the city or in the countryside – these are the sounds that are included in the collection “Thunderstorm Rain Vol.1”.

    These sounds are well suited for creating a stormy, rainy atmosphere for movies, games and other audio-visual content.

    All sounds are recorded in WAV format, 96 kHz, 24 bit.


    The following sounds are included:

    • Atmosphere of Thunderstorm in City Outside Window
    • Drops of Thunderstorm Rain on Windowsill
    • Heavy Rain
    • Pouring Rain
    • Rain Hurricane Rattle Metal Plate Loop
    • Rain in the Gazebo
    • Rain In the Village
    • Rain on Windowsill and City Traffic
    • Rain Thunderstorm on City Traffic Background
    • Rainy Atmosphere with Thunderstorm in City
    • The End of the Thunderstorm
    • Thunderstorm
    • Thunderstorm Rain Intensifies
    • Thunder FX


    Product Details:

    • 82 GB
    • 96kHz/24-Bit
    • 73 WAV files

    Thunderstorm Rain Vol.1 – Sound List

  • “Sci-Fi Textures and Loops” are unique sound effects in WAV 24 Bit 96 kHz format that are suitable for creating a dark, mysterious, alien atmosphere when creating science fiction films, games, and music tracks.

    32 %
  • The Reindeer/Caribou sound effect library has 150 audio files and over 500 individual sounds. Including:

    • Isolated vocalizations of adults, young calves, and newborn calves, including grunts and nickers
    • Isolated mouth and nose sounds, including breaths, exhales, inhales, snorts, coughs, smacking, swallowing, sniffs, burps, and gurgles
    • Herd activity, including resting, moving, herding and round-up
    • Real and foley bells
    • Antlers clashing
    • Footsteps, walking and running on different surfaces
    • Eating and drinking
    • Sleeping/Resting
    • Digging snow

    Reindeer/Caribou - Sound Effect Library

    Most of these sounds have been recorded with a collar microphone on reindeer, so the sounds are extremely intimate, isolated, and close-up. The collar microphone was attached to a female reindeer with a calf, which captured the most intimate moments. The collar microphone also recorded many other reindeer in the herd, so there are a lot of unique reindeer vocalizations.

    This sound effect library also contains all 33 files from my previous Reindeer sound effect library.

    Note regarding the naming of the animal: Wikipedia says that “Reindeer is the European name for the species of Rangifer, while in North America, Rangifer species are known as Caribou”. So, you can use the same sounds for each of them because, at least in terms of sound, they are nearly identical!

    20 %


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