Asbjoern Andersen


Game audio middleware is rapidly changing the game audio landscape – so just how do you make sure you have the right skills to work on current and future game projects?

One way is to enroll in an online course to get up to speed – and that’s exactly what experienced game audio educator Leonard Paul offers. He’s been teaching game audio since 2001, and is currently running the School of Video Game Audio, offering online game audio courses in Wwise, FMOD Studio, Unity3D and Pure Data.

How do the courses work, what’s happening in the world of game audio education – and what’s needed to stay up-to-date on game audio creation? I decided to have a talk with Leonard Paul to find out:

 

Hi Leonard, please introduce yourself and how you got started doing courses in game audio:

Hi Asbjoern, many thanks for your invite to share a bit about the School of Video Game Audio with your community.

I started working in video games in 1994 and my first work with game sound was doing graphics and audio coding for a little “easter egg” for NBA Live ’95 by Electronic Arts on the Sega Genesis. If you happen to play the game all the way through the playoffs and lose the finals then you’re sent to a little golf mini-game that I coded. In the early 2000’s, I transitioned out of coding and moved more into composing and sound design for games.

Leonard Paul, at the Audio Engineering Society Education Fair

Leonard Paul, at the Audio Engineering Society Education Fair

Some of the highlights for me working with audio in games was working a bit with Rahzel for NBA Live 2k whose vocal effects were used for a lot of the menu sound effects. For EA’s NBA Jam I had the pleasure of working with the music of Vago, Hazel and DJ Kemo (Vanguards) to remix their songs so they would adapt to gameplay. I was fortunate enough to help license and remix the work of electronic music pioneer Jon Hopkins for the indie game Vessel to enable his music to dynamically underscore the player’s progress in the game’s puzzles. Retro City Rampage has been a great indie project to work on, so working as the sound designer, being one of the composers and publishing the soundtrack has been great fun.

In film, I was the composer for The Corporation which is Canada’s top-grossing documentary to this date. Now over ten years later, I’m enjoying scoring an exciting new documentary called Beep: A Documentary History of Video Game Music & Sound.

My work in game audio education began in 2001 when I taught a few game audio courses at a private college and I found out that I really enjoyed it.

I feel that teaching is a great way to keep learning and a fun way to connect with people in life

A few years later, I was hired by the Vancouver Film School and started the game audio stream within their sound design programme. Besides the School of Video Game Audio, I teach a bit at the Emily Carr University of Art and Design but with more of a focus more on graphics and interaction utilizing the Pure Data coding environment. I feel that teaching is a great way to keep learning and a fun way to connect with people in life.
 

Traditionally, a lot of people in game audio have been self-taught. Is that something you see changing these years?

I believe that it takes time for institutions to create courses for emerging disciplines such as video games so the people at the beginning are often either self-taught or transfer their skills from similar domains. At Simon Fraser University I graduated with an Honours in Computer Science and an Extended Music Minor over the course of eight years and had a lot of fun in my studies. As it turned out, I ended up taking many courses that informed my work within game audio but didn’t necessarily set out to do so at the time. Although I’ve spent a good amount of time at university, I don’t believe that having a formal education is in any way a requirement to working in games.

A recent major shift in the game audio industry has been the standardization that middleware such as Wwise and FMOD Studio have created. When I first started teaching game audio you usually learned how to use the audio tool set unique for each gaming platform unless your company had its own cross-platform in-house software. It was quite difficult to teach game audio in these days as access to the tools actually used in professional game audio was quite restricted.

With great middleware we’re able to focus more on the results rather struggling against the technology

Now that middleware companies are allowing widespread access to their technologies it is making it easier to prepare people for the game audio industry. With great middleware we’re able to focus more on the results rather struggling against the technology. I think that the main challenge is to continually push the boundaries of game audio and experiment with new possibilities. I want to push myself to try new things and deepen my experiences in life.
 

What is the School of Video Game Audio, and what kind of courses do you offer?

The School of Video Game Audio is a set of online courses designed to help people improve their skills in game audio. The courses currently focus on creating demo reels using Wwise, FMOD Studio, Unity3D and Pure Data. The goal of the courses is to help students convey their skills in the best way possible to potential employers through their demo reels.

I feel that a hands-on learning approach is one of the best ways to learn game audio skills so I utilize my experiences in the industry to adjust the courses to reflect how things are currently working in the industry. Since we don’t give grades in our courses, students can customize the course to suit their own needs and we can focus on areas where they would like the most guidance and feedback. So far we’ve had hundreds of students from over 35 different countries join us so I hope that we are also helping to create a community that has a positive effect on the games industry as a whole.
 

How do you decide what students need to learn on a given course?

The courses at the school are meant to be flexible to adjust to the student’s needs. For example, students that are already currently employed in the industry can skip the demo reel portion of the course and focus more on the middleware itself. Also, for students that have skills in composing can get detailed feedback on how to produce interactive scores while other students can choose to focus on sound design.

Our most successful students already have strong skills in audio and are looking to increase their knowledge of game audio middleware

Currently we do not teach the basics of sound design or composition for games but we are planning courses to help students to learn more introductory game audio skills for the future. Our most successful students already have strong skills in audio and are looking to increase their knowledge of game audio middleware.

Since I have a technical background, I can definitely help anyone who is interested in the basics of coding if they show an interest. Besides learning scripting in our Unity3D course, none of the courses require any coding. I believe that it is very important for a student to learn game audio within a real game so we spend a lot of time keeping our courses up to date with the latest versions of the audio middleware and continually improve the games used to allow for additional game audio implementation.
 

How does a course work? Can you describe the typical flow? And how much feedback do students get from you?

The current courses are split into two halves with the first month being a selection of videos and quizzes combined with weekly mini-projects. All of the mini-projects are oriented towards the demo reel game requirements. In general, the mini-projects include review of one’s sound design and implementation of footsteps, real-time effects, weapon sounds and monster sounds. For the second half of the course, the student focuses on creating all of the audio content required for their demo reel game.
For students requiring more than the default two month enrollment, our courses can be extended as long as needed by purchasing extra months of time.

The course is specifically designed to allow people with other priorities to learn the information that they need within a relatively short period of time

There are no real-time chats, webinars or other elements of the course that require the student to be at their computer at set times. The course is specifically designed to allow people with other priorities to learn the information that they need within a relatively short period of time.

Students receive as much feedback as they like for any of their projects including the final demo reel. For the demo reel I give very detailed feedback on all elements from the script, picture editing, sound design, composition help, vocal production and whatever else is needed to help them produce the strongest demo reel possible.

The school has recently grown large enough that I needed to find help with reviewing student work and I’ve been very happy to have Viviana Caro join the school in 2014. She brings a wealth of audio and education experience to the team and helps allows the school to reach even more people. It’s exciting to see the school grow and very inspiring to hear back from students that have found contracts and jobs within the industry.


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


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    ANIMAL HYPERREALISM VOL I is a library containing themed animal vocalisations & sounds, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    ANIMAL HYPERREALISM VOL II is a library containing themed animal sounds & vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.

    ANIMAL HYPERREALISM VOL III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.

    METAMORPHOSIS is a huge collection of recorded source, synthesized material and hybrid sounds – more than 2300 sounds total.

    GLACIER ICE is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.

    POLARITY delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs.

    ULTRASONIC DRY ICE is a library containing over 600 sounds themed metal resonances, scrapes and all sorts of weird.

    ROCKS MOMENTUM gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland.

    WATER VOLUMES delivers you over 300 sounds of natural hot-springs, bubbles, and liquids of various densities boiling under the effect of dry ice.

    METAL GROANS AND SLAMS is a library for which metal was kicked, hammered, bowed and… induced to vibrate through feedback loops?! The collection features 346 unique sounds recorded through field trips in US, UK and Italy.

    CRUNCH MODE & THE BORAX EXPERIMENT are also included as a bonus: Crunch Mode features 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust & frozen goods, and The Borax Experiment gets you 158 squishy, gory, slimy, gooey SFX.

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

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Latest releases:

  • Environments & Ambiences Future Dystopia Play Track 626 sounds included, 142 mins total $44.95

    The sounds of a dark tomorrow… are here!

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    Future Dystopia – our World Building Sound-Set is made up of 626 sounds across 151 WAV audio files. There are 54 atmospheres, 67 Elements, 7 foundation sounds, 12 speech sets and 11 vehicle builds… Our sound-files are 24bit/96k stereo (that can be folded to mono if desired.)
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  • Animal Sound Effects The Animal Symphony – Donkey Play Track 69+ sounds included, 10 mins total $10

    THE ANIMAL SYMPHONY – GOAT & SHEEP
    THE ANIMAL SYMPHONY – CROWING ROOSTER
    THE ANIMAL SYMPHONY – LOVEBIRD
    THE ANIMAL SYMPHONY – WHITE HANDED GIBBON
    THE ANIMAL SYMPHONY – MEERKAT
    THE ANIMAL SYMPHONY – WATUSI

    Product description:

    “The Animal Symphony – Donkey” offers a collection of 69 high-quality audio tracks, each with multiple sounds (between 3 and 6 variations). The audios are organized with an intuitive nomenclature, allowing you to easily swap the different microphone jacks, so you can choose which microphone to use or combine them all. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, along with a Zoom H6 recorder for stereo sound, we have captured every detail and nuance of these sounds. Recordings were made at 24-bit and 192kHz/96kHz, ensuring professional clarity and depth.

    This collection offers a wide variety of braying, growling, donkeys eating, etc… these sounds are perfect for adding realism and authenticity to your projects. With multiple takes and variations, this library provides the flexibility needed for any type of production requiring sounds from these animals. All recordings have been carefully edited to eliminate external noises, such as birds, wind or people. Furthermore, thanks to the ultrasonic microphones used, it is guaranteed that whoever decides to lower the tone will continue to obtain frequency richness.

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    Technical details:

    – Total audios: 69 (Each audio contains between 3 and 6 variations)
    – Format: 192kHz – 96kHz/24bit
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    License:

    The sounds from “The Animal Symphony – Donkey” are available under a royalty-free license, allowing them to be used in multiple projects at no additional costs. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

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  • Traffic Sound Effects Long Car Pass Bys Play Track 10-40 sounds included, 65 mins total $22

    This small library contains ten exquisite recordings in multiple variances of cars driving through a quiet and expansive landscape along a very long road. You can hear the car approaching from a very far distance, passing by close, and slowly fading away into the distance for a very long time as well. In other words; we capture the car’s journey from afar, stretching on until it disappears over the horizon.

    All recordings are clear and entirely devoid of external noise and human disruptions.

    All these recordings are recorded using two microphone setups: a Double MS Stereo setup and a spaced omnis setup, the latter also providing extended frequency response. This results in four variations for each recording: Stereo, Wide Stereo, Wide AB Stereo, and 5-channel 5.0 surround. The variances between these options range from subtle to more pronounced, offering flexibility for crosscutting within scenes.

    Get more than one hour of unique, royalty-free and notably high quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered to sound as natural as possible. With an average duration ranging from 40 seconds to 3 1/2 minutes per file. For more detailed descriptions of the recordings within this collection, please refer to the metadata provided in our file lists or listen to the preview montage.

    This library is UCS compliant (universalcategorysystem.com). In this new category system, all files contain extensive metadata like file description, Category & Subcategory. Metadata can be read and processed by the most common audio libraries management tools.

  • All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272, Sonorous Objects SO.3 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

Need specific sound effects? Try a search below:


What’s your best piece of career advice when it comes to getting into game audio?

Similar to almost anything in life that’s worthwhile, I don’t believe that there’s a shortcut to having a successful career in game audio. I believe everyone’s career path is different so one of the best things I can do is try to offer personalized advice and support. If I had to give general advice, I would say that it’s important to try to be a good person and to do your best to help others. Learning the specific tools in game audio is important but the tools are constantly changing so knowing how to work with others is key. I try to help people in the best way I can during the time that I share with them–this was a core reason why I started the school.
 

What trends are you noticing in game audio?

The trend that I hope to see is the inclusion of more women in the game audio industry. It’s a very complex issue so I won’t try to offer much comment here but with a 2014 GameSoundCon Game Audio Industry Survey finding that “Game Audio is overwhelmingly male (96%)” we can see that there is a systemic issue in game audio that should be addressed to help achieve a better balance for the future. This issue may be related to today’s relatively low number of women in STEM (Science, Technology, Engineering and Math) and professional audio jobs but could also be related to the climate for women in the games industry as well.

There is a systemic issue in game audio that should be addressed to help achieve a better balance for the future.

I think that we can be inspired by the positive work that is being done in related job industries to improve the balance and work to help improve things in our own field over time as well.

My hope for the school is that we can reach a wide population of people who are inspired to create games that reflect their own unique experiences and culture.

 

In your experience, what’s the one thing students find hardest in game audio?

I’ve found that students typically feel that the most difficult thing in game audio is dealing with coding and implementation but I feel that the answer is a bit more complex. Learning coding languages is really similar to learning regular human languages except that with coding you’re communicating with a machine. Understanding a bit about how code works is like learning a few phrases from a phrase book–it gives you small insight into what game audio has to offer.

I don’t believe that you need to learn so much code that you’re fluent, but games are an interactive art form and code is often a large part of making a game. It can be difficult getting over the initial challenges of learning how code works but I find that students are really excited once they start to see how it can support their artistic vision.
 

What are your future plans for the School of Game Audio – and when are your next courses starting up?

We’re starting a new course in Pure Data in March 2015. I’ve been working with Pure Data and games since I first started teaching in 2001 so it’s really exciting for me to be able to offer help to students wanting to learn more about Pure Data.

The course size is limited and can be booked here. The course is OS X & Windows compatible and will focus on using Pure Data from a game audio perspective. Pure Data has recently gained more widespread use directly in games such as Fract OSC by using the LibPD code library.



The Generative Music and Procedural Sound Design of Sim Cell


Leonard Paul, demonstrating how Pure Data is being used to make the generative music and procedural sound design of Sim Cell

LibPD will be featured and I will detail on how I used Pure Data for games such as Sim Cell. Students will be able to change their Pure Data audio content, synthesis, effects, logic and overall implementation behaviours in real-time while the game is running. This is meant to give students exposure and training similar to next-gen audio workflows such as the AMP system used on Rockstar’s GTA V.

Besides our new course, we’re planning a few new ways to help people learn more about game audio that we’ll be revealing over the next year. I’m inspired to hear what happens next in game audio and I’m very happy to be a part of this exciting industry!

A big thanks to Leonard Paul for highlighting what the School of Video Game Audio has to offer! To find out more about the school and the online game audio courses, go here.
 

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  • Bundles Mattia Cellotto – Complete Bundle Play Track 11100+ sounds included $1,068

    Mattia Cellotto’s extraordinary sound libraries are some of the most popular releases in independent sound effects – and here’s your chance to get them all at a nice discount. Here’s what’s you get:

    NEW: CATACLYSM is a collection more than 1400 sounds in 400+ files of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    ANIMAL HYPERREALISM VOL I is a library containing themed animal vocalisations & sounds, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    ANIMAL HYPERREALISM VOL II is a library containing themed animal sounds & vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.

    ANIMAL HYPERREALISM VOL III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.

    METAMORPHOSIS is a huge collection of recorded source, synthesized material and hybrid sounds – more than 2300 sounds total.

    GLACIER ICE is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.

    POLARITY delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs.

    ULTRASONIC DRY ICE is a library containing over 600 sounds themed metal resonances, scrapes and all sorts of weird.

    ROCKS MOMENTUM gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland.

    WATER VOLUMES delivers you over 300 sounds of natural hot-springs, bubbles, and liquids of various densities boiling under the effect of dry ice.

    METAL GROANS AND SLAMS is a library for which metal was kicked, hammered, bowed and… induced to vibrate through feedback loops?! The collection features 346 unique sounds recorded through field trips in US, UK and Italy.

    CRUNCH MODE & THE BORAX EXPERIMENT are also included as a bonus: Crunch Mode features 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust & frozen goods, and The Borax Experiment gets you 158 squishy, gory, slimy, gooey SFX.

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  • Every sound of clothes you need for a classic scene is in this library: walk, run, jump, fight, pat, rustle, etc. I used eight different types of material and recorded each action with a lot of detail and making sure I gave you a lot of variety.

    Clothing: Bomber jacket with zipper, Denim Shirt, Harrington jacket, Hawaiian shirt, Puffer jacket, Tuxedo, Windbreaker, Wool jacket

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  • Get ready for an immersive and thrilling gaming experience Sci-Fi Voices Volume 02 Big Battle Robot. This pack includes over 1090 high-quality, futuristic words and phrases that will bring your gameplay to life.

    With the Big Battle Robot Mech guiding you every step of the way, you’ll feel like you’re in the middle of the action.Whether you’re maneuvering through dangerous terrain or giving commands, the battle mech robot’s powerful, commanding voice will keep you on track.

    The voice lines range from authoritative to helpful, giving your in-game character the personality it deserves. Whether you need to issue orders for an attack, warn your crew members of threats, or provide information on the state of the mission, the MBig Battle Robot Voice Sound Pack has the perfect sound to suit your needs.

    Here are some example phrases to give you an idea of what’s included in the pack:

    My systems are always prepared for the next fight 

    My programming demands your destruction 

    Strategy remarkable 

    Your tactics are predictable. I know your every move 

    Your weapons are nothing compared to mine 

    Victory is inevitable I am programmed for greatness 

    Outcome outstanding 

    My thirst for victory is unquenchable 

    I”ve seen a lot in my time lets see if I”ve still got it 

    My weapons are at the cutting edge of technology 

    My advanced weaponry and fighting spirit make me a force to be reckoned with 

    My abilities are not up to the challenge 

    I”ll protect the team and ensure their safety 

    I may be old but I still have a lot of fight left in me 

    I am not equipped to handle this type of challenge 

    A robot with a thirst for victory always pushing for greatness 

    Good job!

    Closing Application 

    For a detailed listing of the words and phrases, take a look at the soundlist PDF document.

     

    All sounds are provided in 44,1khz/16bit and 48kHz/24bit

     

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments & Ambiences Future Dystopia Play Track 626 sounds included, 142 mins total $44.95

    The sounds of a dark tomorrow… are here!

    Orbital Emitter is proud to present our first World Building Sound-Set, FUTURE DYSTOPIA!
    Future Dystopia is a meticulously crafted collection of audio atmospheres and sonic elements that can be used in any film, tv or streaming show, music production, game development, YouTube content creation and more!
    Future Dystopia embodies the dark yet intense world of cyberpunk sci-fi by providing everything you need to create vibrant environments, detailed locales and dynamic scenes.
    But the best thing about this sound-set is that you can create these rich and imaginative scifi soundscapes in a fraction of the time it takes using traditional methods!
    Our curated atmospheres and elements can be combined, dissected, and quickly customized so that you can achieve great results to rival any Hollywood production! And the diversity of our sounds means you can build audio scenes for urban districts, space stations, industrial sites, abandoned locales, power stations, vehicles and more, FAST!
    Simply drop a few of our audio files into any NLE or DAW and hear how quickly your scenes will come to life! And with our sound-sets, all of our sounds are organized, clearly titled and contains metadata for each audio file.

    Future Dystopia – our World Building Sound-Set is made up of 626 sounds across 151 WAV audio files. There are 54 atmospheres, 67 Elements, 7 foundation sounds, 12 speech sets and 11 vehicle builds… Our sound-files are 24bit/96k stereo (that can be folded to mono if desired.)
    Every sound in Future Dystopia is 100% original and created to help transport your audience to another world!
    Order now and receive our 19 page e-guide that explains how to get the most out of this sound-set absolutely FREE.

    SPECIAL NOTE: To celebrate the release of this brand new sound-set, we are offering a 25% OFF for a limited time!
    We hope you enjoy Future Dystopia our first world building sound-set!

     

    Quick note about the download:

    Please note that the Future Dystopia Sound-Set is 5.4GB when uncompressed. To make delivery more streamlined, we have compressed this file to the “.zip” format.
    Because Windows users might have issues opening a “.zip” file over 4GB, we have included a “.rar” version of the file so Windows users can avoid any issues.

    TLDR: If you are on a Mac computer, just open the “.zip” file and for Windows users, open the “.rar” file.

     

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  • Animal Sound Effects The Animal Symphony – Donkey Play Track 69+ sounds included, 10 mins total $10

    THE ANIMAL SYMPHONY – GOAT & SHEEP
    THE ANIMAL SYMPHONY – CROWING ROOSTER
    THE ANIMAL SYMPHONY – LOVEBIRD
    THE ANIMAL SYMPHONY – WHITE HANDED GIBBON
    THE ANIMAL SYMPHONY – MEERKAT
    THE ANIMAL SYMPHONY – WATUSI

    Product description:

    “The Animal Symphony – Donkey” offers a collection of 69 high-quality audio tracks, each with multiple sounds (between 3 and 6 variations). The audios are organized with an intuitive nomenclature, allowing you to easily swap the different microphone jacks, so you can choose which microphone to use or combine them all. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, along with a Zoom H6 recorder for stereo sound, we have captured every detail and nuance of these sounds. Recordings were made at 24-bit and 192kHz/96kHz, ensuring professional clarity and depth.

    This collection offers a wide variety of braying, growling, donkeys eating, etc… these sounds are perfect for adding realism and authenticity to your projects. With multiple takes and variations, this library provides the flexibility needed for any type of production requiring sounds from these animals. All recordings have been carefully edited to eliminate external noises, such as birds, wind or people. Furthermore, thanks to the ultrasonic microphones used, it is guaranteed that whoever decides to lower the tone will continue to obtain frequency richness.

    Ideal applications:

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

    Technical details:

    – Total audios: 69 (Each audio contains between 3 and 6 variations)
    – Format: 192kHz – 96kHz/24bit
    – Equipment used: Zoom F6 recorder with Sennheiser MKH 8050 microphone and EM258 capsule microphone, plus a Zoom H6 recorder for stereo sound.

    License:

    The sounds from “The Animal Symphony – Donkey” are available under a royalty-free license, allowing them to be used in multiple projects at no additional costs. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

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  • Ribbiting Sounds for Your Next Project with our “Frogs” sound effects pack!

    This collection of high-quality, professionally recorded sounds captures the unique vocalization of frogs in their natural habitat.

    Ribbits, croaks, and chirps

    Perfect for aquatic or forest environments

    High-quality, 32-bit/192kHz

     

    Get Ready to Make a Splash with Your Next Project!

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  • Traffic Sound Effects Long Car Pass Bys Play Track 10-40 sounds included, 65 mins total $22

    This small library contains ten exquisite recordings in multiple variances of cars driving through a quiet and expansive landscape along a very long road. You can hear the car approaching from a very far distance, passing by close, and slowly fading away into the distance for a very long time as well. In other words; we capture the car’s journey from afar, stretching on until it disappears over the horizon.

    All recordings are clear and entirely devoid of external noise and human disruptions.

    All these recordings are recorded using two microphone setups: a Double MS Stereo setup and a spaced omnis setup, the latter also providing extended frequency response. This results in four variations for each recording: Stereo, Wide Stereo, Wide AB Stereo, and 5-channel 5.0 surround. The variances between these options range from subtle to more pronounced, offering flexibility for crosscutting within scenes.

    Get more than one hour of unique, royalty-free and notably high quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered to sound as natural as possible. With an average duration ranging from 40 seconds to 3 1/2 minutes per file. For more detailed descriptions of the recordings within this collection, please refer to the metadata provided in our file lists or listen to the preview montage.

    This library is UCS compliant (universalcategorysystem.com). In this new category system, all files contain extensive metadata like file description, Category & Subcategory. Metadata can be read and processed by the most common audio libraries management tools.

  • All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272, Sonorous Objects SO.3 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.


   

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