Mixing Maestro Asbjoern Andersen


In this interview, re-recording mixers Tom Ozanich and Dean Zupancic discuss the mix of Bradley Cooper's film Maestro – currently in the running for a 'Best Sound' Oscar (among other noms!) They talk about mixing the Ely Cathedral scene and the party scenes, mixing effects in a musical way during scenes without score, and so much more!
Interview by Jennifer Walden, photos courtesy of Netflix
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Animal Hyperrealism IV Is Here!

Hear the interview with Tom Ozanich and Dean Zupancic here:

 

Hear the interview in the brand new A Sound Effect podcast episode here:


Sound libraries highlighted in this episode:

  • Creature Sound Effects Alien Life Play Track 4710 sounds included From: $129

    EXPAND YOUR SONIC UNIVERSE AND CRAFT UNRIVALED ALIEN SOUND EFFECTS
    Explore the unknown corners of the universe and discover ALIEN LIFE! Feel the tension as visceral snarls, shrieks, squawks, grunts, and groans craft the unsettling sounds of extraterrestrial biology. ALIEN LIFE features our signature high-quality audio and design. It provides you the tools to develop unique vocalizations and bioacoustics for all sentient beings in your universe. Use these high-quality animal sounds and prop effects creatively to craft the sounds of extraterrestrial orifices and appendages. This collection offers organic and exotic sonic palettes, weaving a vivid tapestry of alien evolution into a single guttural bellow.

    ALIEN LIFE | Sound Effects | Trailer

    EXOTIC SIGNATURE VOCALIZATIONS

    This sound collection contains a vast range of pristinely recorded animal vocalizations. It focuses on exotic signature sounds, typically more challenging to capture cleanly. Curated to provide the tools to design truly unique and convincing zoological vocalizations for any creature you can fathom

    VERY BROAD SOUND PALETTE

    It includes a variety of fresh yet unmistakable snorts, growls, screeches, screams, chirps, and more. These sounds come in varying states of excitement and agitation, providing limitless potential. Discover strange new combinations and experiment with timing and tonality. Craft audible cues that help define the anatomy and biology of your ETs.

    EXPRESSIVE PROP EFFECTS

    Additionally, the collection includes a curated assortment of expressive prop effects. These effects cover clicking, slimy, squishy, scratchy, crunchy, and more. They round out the collection and offer more tools for boundless sound design potential. Invade your universe with ALIEN LIFE and manifest unique zoological vocalizations for all of the other-worldly creatures you can imagine!


    INCLUDED SOUNDS – KEYWORDS
    ALIEN, EXTRATERRESTRIAL, VISCERAL, GRUNT, SNARL, GROAN, SCREAM, SQUEAL, SHRIEK, BRAY, BELLOW, CAW, HISS, CROAK, SNORT, CHIRP, GROWL
  • Animal Sound Effects Ambisonic Horse Carriage Play Track 22 sounds included, 26 mins total $39

    This classic vehicle is drawn by two horses and produces mostly clank and rattle of wood and metal. You can also hear some leather creaks and the horses’ hooves and breaths. Occasionally the driver beatboxes some cues – clucking, smacking, monosyllables.

    Some of the files contain solely the rattle of the rolling carriage but no horses – these can be used for sound designing any old vehicle on a bumpy road.

    This selection of onboard sounds contains a variety of speeds, horse gaits and road surfaces. They have been recorded with the Sennheiser Ambeo VR Mic, and, simultaneously, with two stereo sets. For each recording you get 10 channels:

    – ambiX B-format (4 channels)
    – Stereo XY (Audio-Technica BP4025)
    – Wide Stereo (DPA 4060) captured at the carriage’s chassis
    – Stereo Mix of all of the above

    The ambiX B-format files are ready to be encoded into all spatial sound setups: like 5.1, 7.1, 4.0, VR 360 degree experience, and more.

    The library is UCS compliant.

  • 54 sounds on fire! Another indispensable toolkit of fire, wood burning, flames and different fire ambiences that were recorded indoors and outdoors. Find the true sound of it with Vadi Sound Library.

     

     

    About Campfire, Fireplace and Stove

    From loopable fire, wood burning, fireplace and flames, bonfire, stove and campfire, this 96 kHz – 24bit collection has both organic Foley and sound design usability in stereo and mono format.

    You will get lots of organic firewood crackles, sizzles, hisses, whooshes and campfire ambiences of the forest, sometimes with owls hooting, dogs barking and the crickets. Fire bursts and igniting with spray and flamethrower, matches, magneto lighters, closing and opening of metal lids are included too.

    These 54 immersive sounds are windy, wild, fast or calm and peaceful and were recorded at different seasons, at night and day, indoors and outdoors and all fire burning sounds are loopable. You will get intuitive, detailed naming, UCS compatibility and the usual Vadi Sound craft and attention to detail.

    Keywords:

    Fire, fireplace, stove, campfire, bonfire, flame, burn, burst, crackle, sizzle, hiss, gas, ignite, forest, night, day, indoor, outdoor, match, lighter, whoosh, air, brush, debris.

     

     

    What else you may need

    You may want to check out Drag and Slide Pack for 477 sounds of dragging, sliding, scraping and friction sounds of different objects made of wood, plastic, metal on various surfaces.

    Lots Of Chains is another option with 450+ sounds that capture pretty much every material and action of the chain.

  • Bundles General Hospital Play Track 2000 sounds included, 900 mins total $249

    HAL has teamed up with sound designer Raphael Sohier to create the most comprehensive hospital sound effects library to date. GENERAL HOSPITAL has 760 files and over 2000 sounds covering all aspects of the genre.

    This collection is the result of years of work and aims to set a new standard for a genre mostly neglected by independent sound libraries until now. Even old tropes need new sound ideas (no pun intended) and we think we have achieved exactly this with our library.

    HAL General Hospital | Trailer
  • Animal Sound Effects Imaginary Birds Play Track 2000+ sounds included, 64 mins total $69

    Recorded using only bird calls, musical instruments, voice and whistling techniques, IMAGINARY BIRDS contains over 200 different organic and realistic songs of non-existing birds. Recorded with a Sennheiser MKH 8050 with ultrasonic content, you can use the sounds as is, pitch-shift them or combine individual sounds to create new bird songs.

    KEY FEATURES:

    • 227 sounds recorded with MKH 8050
    • 96KHz/24bit
    • Each file contains several variations of the songs
    • Recorded dry, no reverb added
    • Ideal for cartoon, sci-fi, adventure films, video games, creature design, soundscapes…

Want to read the interview instead? Get it below:

Bradley Cooper’s Maestro is in the running for a 2024 ‘Best Sound’ Oscar. Last week, A Sound Effect talked about the sound editing on the film with Richard King and Jason Ruder. This week, re-recording mixers Tom Ozanich and Dean Zupancic – at Warner Bros. Post Production Creative Services in Burbank – talk about how they shaped the film’s mix.

In addition to Maestro, Ozanich and Zupancic have another shot at the 2024 ‘Best Sound’ Oscar – for their mix on The Creator directed by Gareth Edwards. (Check out our interview with The Creator supervising sound editor/sound designer Erik Aadahl.)

Cooper’s Maestro is a reunion of sorts for Ozanich, Zupancic, and Ruder – all three had worked with Cooper on A Star is Born, which also featured music recorded live on-set.

Here, Ozanich (who mixed music and dialogue) talks about carefully creating the right space for the live performances using different reverbs to change perspectives to match what we hear to what we see. He and Zupancic discuss their combined approach to mixing the party crowds. And Zupancic talks about mixing foley to match different eras in the film, mixing the effects as a way to score specific scenes, like Leonard and Felicia’s argument during the Thanksgiving day parade in NYC, and much more.



Maestro | Ely Cathedral | Official Clip | Netflix


Maestro | Ely Cathedral | Official Clip | Netflix

I had the opportunity to talk with Richard King and Jason Ruder about the sound editing on Maestro and one thing we talked about was recording the music live on set. I’d love to hear about your approach to mixing those music scenes, particularly Ely Cathedral…

Tom Ozanich (TO): So you heard from Jason about the live setup – basically, Jason hired a company to come in and they mic’d it all up and recorded it live. As they’re laying it down, they do a balance of the elements and lay it out into a whole bunch of 5.1 stems. Because it’s live and it’s all in this one big cavernous room, there’s tons of bleed of all of the elements onto the other elements. But, I think I had 20 5.1 stems. There were mics focused over the strings, over the brass, over the choir, and in some cases, there might be a couple of sets for the choir and then you have the two soloists. What I end up with are 20 or so 5.1 stems and then I try to fit that into the movie and the story that’s unfolding there.

Because it’s live and it’s all in this one big cavernous room, there’s tons of bleed of all of the elements onto the other elements.

There’s a big oner master shot where the camera comes over the orchestra and goes right up to Lenny and then eventually comes back and lands over Felicia’s shoulder. As we did that movement, I wanted things to feel like they were in the space in the real location – that they were relative to what we’re seeing. That would not be set in what they captured because they’re just capturing it in a static setting and obviously, there’s movement to all of that. We also wanted to let you focus on a couple of the elements as the camera goes by, like the choir in the beginning. The male choir has a big part that jumps out. Prior to that, they’re behind us and then they’re in front of us. So I’m trying to do really stealth moves where things just appear in the right place. In a case like that, I’m pushing the dynamics of that to get more out of it so things appear in the place we’re expecting to hear them based on what we’re seeing.

For example, at one point the timpani player is doing a roll and so there’s just a subtle move there to focus you on noticing what he’s playing right there. And that happens with different people, different players, but it’s never a solo thing or a featured thing where it pops way out of the mix. It’s just subtleties to make you dial into that and notice it without noticing that there was any change.

 



Maestro: Sound Breakdown | Netflix


Maestro: Sound Breakdown | Netflix

That must’ve been tough given that, as you said, there’s bleed on the tracks. So the mics are stationary and the instruments aren’t isolated. So as the camera swings around, now you have to adjust the mix to that new visual perspective using a fixed recording…

TO: Yeah, sometimes the brass may have a bunch of strings on it that, when you go move the strings, they don’t want to move because there’s enough of them in other mics. So there is a bit of that. But again, it’s not intended to be a drastic move that you are aware of.

Dean Zupancic (DZ): But your brain registers where you’re flying over, which is great.

TO: I always think of sound as a focus-pulling device – amongst other things. So it can really cause you to notice things in the frame. By doing little shifts like that and highlighting something subtly, you’re thinking about it or you’re aware of that thing without us being heavy-handed, telling you to think about it.

 



The Sound of Maestro | In Conversation | Netflix


The Sound of Maestro | In Conversation | Netflix

What about some of the more intimate performances, like Leonard’s piano duo with Aaron Copland? In my chat with Richard and Jason, we talked about a ‘better’ version of the performance being edited to picture there. From a mix perspective, what did it take to make that work, so that you believe that what you’re hearing is what you’re also seeing?

TO: I think it’s a matter of putting it in the space in such a believable way that you don’t question it. It just feels real; if it feels real, you’ll buy it. You’ll just sign off and you’ll disengage the part of your brain that’s questioning whether or not they’re really playing it or whatever.

… it’s a matter of putting it in the space in such a believable way that you don’t question it.

In that particular scene, you’re watching them play it. And so you do think about that. But the piano is not played just in front of us, straight up in a stereo manner. It’s pushed a little bit off to the right because the piano itself is sitting off to the right in the frame. And then it’s played in that room, and so there’s room on it. Those are all clues to tell you that thing is physically sitting right there, and I’m looking through this window at the scene.

I don’t think that’s a very tricky, big, difficult thing, but this whole mix is really about elegance and nuance and a thousand different little subtle things that make it feel tangible and real and just flow together.

I don’t think there’s any point in the mix where you question the reality of any scene.

DZ: I don’t think there’s any point in the mix where you question the reality of any scene. Honestly, from the guy sitting next to Tom, I believe all the space. I know what he’s doing, but I believe the rooms, the reverb (i.e., the room that he puts on that piano in that particular scene fits that room).
So you don’t question it. It doesn’t sound fake. And none of the reverbs or rooms to me in this movie sound manufactured.

TO: A great example is the very beginning of the movie; the piano is playing and it comes up over the logo so we have no context of reality tied to a picture because there’s no picture yet.

But as soon as we cut to the picture of Lenny sitting there playing the piano in the opening of the movie, all of a sudden, the piano focuses and plays like it’s sitting right there in that room. Prior to that moment, it’s played in a more typical, score-y abstract way.

 

How did you make it feel less abstract and more real for when we transition into actually seeing him playing the piano?

TO: Everything about it changes. It positionally changes, it changes in space, in the room, reverb, and a little bit of an EQ shift.

And then the other factor is that some of the sounds of the room start to come in there, too. There are a couple of places where something like that happens in the movie and it’s shifting to a believable, viable, real space.

Behind the Masterful Sound and Music Editing on ‘Maestro’ – with Richard King and Jason Ruder:

 

Hear the interview in this A Sound Effect podcast episode:


Sound libraries highlighted in this episode:

  • Purchase now and receive Whoosh FX, valued at $30, absolutely free!

    If you are looking for a high-quality sound library for your trailer projects, you have come to the right place. Introducing our Trailer Sound Library, a collection of 720 carefully designed sounds that will make your trailers stand out from the crowd.

    We put a lot of time and effort into creating this sound library, and we are confident that you will love it. Every sound in this library is hand-picked, meticulously crafted, and professionally mixed. These are not raw sounds, but polished and refined sounds that will suit any trailer genre and mood.

    Our Trailer Sound Library covers a wide range of sounds, such as:

    – Impacts and hits: powerful and punchy sounds that will add impact and drama to your trailers.

    – Risers and whooshes: dynamic and suspenseful sounds that will create tension and anticipation in your trailers.

    – Processed impacts and fx: creative and unique sounds that will add flair and style to your trailers.

    – Texture and particle: atmospheric and immersive sounds that will create a rich and realistic sound environment for your trailers.

    – String ensemble effects and music: emotional and expressive sounds that will add depth and emotion to your trailers.

    And much more!

    One of the best features of our Trailer Sound Library is that it is versatile and adaptable. Whether you are working on a modern blockbuster or a classic trailer, our sound library has something for you. We have created two versions of our sound library: Core and processed. Core contains the traditional and classic sounds that are suitable for any trailer project. processed contains the modern and innovative sounds that are ideal for contemporary and futuristic trailers. You can use either version separately, or mix and match them to create your own custom trailer sounds.

    Don’t miss this opportunity to get your hands on this amazing sound library, and take your trailer projects to the next level. Order now and get instant access to the download link. You will be amazed by the results!

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  • Kawaii UI Trailer
  • Neighbors: Sounds Behind Walls is a unique collection, offering over 3 hours of sounds capturing the daily activities of neighbors living next or above you. This collection can be used especially to bring life to quiet spaces/rooms.

    Think about indistinct sounds from neighbors walking around, setting the table, making coffee, tea, load and unload the dishwasher, cooking, tidying up the room, flushing the toilet, using the water tap, vacuum cleaning, dry blowing their hair, brushing their teeth, taking something out of the fridge or freezer, opening and closing curtains, or even practicing an instrument. And that is not all. We’ve also covered a “noisy” neighbor walking around the room, using or slamming doors, jumping, moving furniture and walking up and down the stairs.

    All recordings are clear and completely free from external noise, voices and other disruptions. No additional reverb is used for more flexibility.

    Utilizing two microphone setups provides two variations for each recording, offering both more pronounced and more distant options.

    Get over 3 hours of unique, royalty-free and high-quality recordings with this library. Recorded in 24 bit / 96 kHz. Accurately edited and mastered. For more detailed descriptions about the recordings in this collection see the metadata 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.

  • Vintage Mechanical Keyboards: a meticulously crafted sound effects library capturing the nostalgic charm character of seven unique-sounding mechanical keyboards: the much-loved IBM Model M, the sleek IBM Japan 5576, the classic Wyse PSE, a unique Soviet Elektronika MC 7004, a quirky non-qwerty Stocktrader keyboard from 1978, a solid Zinc bank teller keyboard, and a vintage terminal board from 1976.

    Each keyboard was expertly recorded with multiple microphones to preserve its unique sonic character, featuring regular keystrokes at various velocities, slow press/release strikes, and separate recordings of letter keys, arrow keys, numpads, and spacebars. There’s also typing at various speeds, keyboard mashing, finger rolls, and miscellaneous switches and plastic creaks.

    950 meticulously crafted files, totaling 25.4 GB, and recorded at 192kHz and 24-bit, complete with metadata that adheres to the UCS standard.

    🚀🦢

  • This library contains 7 steam locomotive whistles from the beginning of the last century!

    These huge monsters could still announce themselves very loudly!

    • Each recording is several repetitions of long and short whistles for each steam locomotive, recorded at close range.
    • The file name also includes the models of the locomotives, as each one’s whistle is unique!

Like when Lenny plays “Here Comes the Bride” and he’s actually in a different room playing the piano and you hear it coming out of that room into this room. Again, you just believe that he’s sitting there and playing that…

TO: Right, and it’s doing a similar thing where when it starts playing it’s like where is that coming from? We’re with Felicia where it’s like, “Oh what, wait, what’s going on?” And then we reverse and look at him playing and boom, the piano is attached to the piano. So it feels like it’s right there.

 

Were there any particularly helpful reverbs that you used? What helped these performances to feel real in the context of the scene?

TO: It’s all the standard tools that I use – mostly Audio Ease Altiverb and LiquidSonics reverbs like the Cinematic Rooms.

For Ely Cathedral, there’s so much room in the actual recording that is just what it is. There’s nothing added to that. At the end of the piece of music, when the orchestra stops and you hear this long tail out of reverb, that’s the actual Ely Cathedral. That’s what’s on mic.


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


Trending right now:

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

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

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  • FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
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    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

  • Bundles Audiohero – The Prodigy Play Track 300000 sounds included $5

    Download 50 Sound Effects for $9.99 within a month from a library of more than 300,000 tracks. We give you Access to a wide variety of collections from Sound Ideas and the Hollywood Edge, including categories such as ambiance, animals, comedy, cartoon, crashes, designed sounds, foley, feature film, guns, sci-fi, production elements, sports, surround sound, transportation, and the list goes on! Instead of purchasing a boutique library, choose from an extensive library ala carte. We provide you with the massive audio library without the large cost.

    The sound effects are all recorded in 24bit 96khz down to 16bit 44.1khz. These sound effects have been used in many productions such as feature films, video games and all types of broadcast.

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    Purchasing this offer gets you a special code that lets you download 50 sound effects from Audiohero.com within a month. The sounds you get with this purchase are covered under the Audiohero EULA.

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  • Spell Variations – Complete Collection is the magic sound bundle, combining all 4 spell sound libraries into one package. Inside, you’ll discover an extensive range of spells, elemental forces, dark incantations, arcane rituals, healing charms, summonings, enchanting whooshes, and much more, delivering a complete arsenal of magical sound effects for any creative project.

    This collection features 1,268 premium-quality sound effects, meticulously organized into 143 unique spell types, each with multiple variations to ensure no spell ever sounds the same, even when reused.

    Every spell type is carefully named and organized into dedicated folders, giving you intuitive navigation and maximum flexibility for magical scenes, game mechanics, cinematic transitions, or immersive soundscapes.

    Recorded, edited, and mastered at 192 kHz / 24-bit, these sounds provide exceptional clarity and full adaptability for pitching, layering, and creative sound design.
    An essential library for professional sound designers looking for ready-to-use magical sounds for video games, trailers, animations, or any high-end audiovisual production.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical sounds [Use them again & again
    – Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.


Latest releases:

  • Hand Combat Sound Effects Violent Combat Play Track 4213 sounds included From: $135 From: $108

    THE RAW SOUND OF CINEMATIC FIGHTING

    VIOLENT COMBAT is a professional sound effects library built for fight scenes that demand impact. Packed with punch sound effects, fight sound effects, and powerful combat sound effects, it delivers everything from raw realism to over-the-top cinematic action. With improved fidelity and greater variation than its predecessor CLOSE COMBAT, this collection gives sound designers production-ready audio for film, TV, and games.

    Violent Combat | Sound Effects | Trailer

    From Realism to Cinematic Exaggeration

    Dial in the tone you need with dedicated categories: Martial Arts, Grounded, Over The Top, and Gory. Whether it’s kung fu sound effects, karate sounds, or exaggerated wrestling hits, you can shift seamlessly from authentic to stylised.

    Successor to Close Combat

    VIOLENT COMBAT builds on the legacy of CLOSE COMBAT with higher fidelity recordings, better-organised categories, and more variation. It’s the ideal companion, giving you the flexibility to cover every style of fight scene.

     

    Sounds That Land With Force

    Recorded with a wide range of props and techniques, each fighting sound effect has real weight. Where needed, selective pre-processing boosts impact, avoiding the flat results of real fight recordings.

    Production-Ready and Versatile

    Equally at home in film, TV drama, high-end game audio, or immersive theatre. From knockout sound effects to stylised fight sequences, Violent Combat is ready to drop straight into your mix.


    Included Sounds – KEYWORDS

    AIR, BODYFALL, CLOTH, CRUNCH, FINISHER, FURNITURE, GORE, GRAB, GRAPPLE, IMPACT, KICK, LEATHER, MARTIAL ARTS, METAL, MOVEMENT, PLASTIC, PUNCH, SLAP, SWISH, SWOOSH, THROW, WHOOSH

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  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

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

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  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

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  • 638 meticulously processed stereo fire spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of fire spells. It also includes source sounds for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

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That’s fantastic. What a beautiful-sounding space. And what about the singing in the film? There’s that scene near the beginning. It’s a party scene, and a man and a woman are singing together. Was that a pre-record or was that also recorded live on set?

TO: That’s live also. That’s just production, like as if they were talking.

That was tricky in that they’re both singing there and they’re bleeding onto each other’s mics. There’s a bit of a challenge to contain some of the peaky parts and yet let it feel like it’s naturally breathing. There are a few spots in there where they’re peaky and edgy and it would hurt if they’re not contained.

That was tricky in that they’re both singing there and they’re bleeding onto each other’s mics.

There are a few places where somebody turns their head and they really go off mic. Trying to find ways to feel that shift, but not as dramatically. What gets recorded is way too dramatic. If they go way off-mic, then you’re going, “What happened?”

That’s sometimes a matter of having to lean on another mic that’s either the other person or another mic in the room to pick that up or process it and gain it up to be at the right level and not be overly roomy.

 



Maestro: Crafting the Sound | Netflix


Maestro: Crafting the Sound | Netflix

Speaking of dialogue bleed, Dean, in my conversation with Richard King he talked about how they got those great crowd sounds for the parties. That, in fact, Bradley Cooper staged a party on set and Steven Morrow miked up all guests. So you had all these discrete channels of the partygoers’ conversations and you could peek in and out of them to follow the camera through the room. Can you talk about mixing those crowds?

DZ: Tom handled all the on-camera and the group ADR – all the on-camera dialogue that you hear – because Tom did dialogue and music.
It was part of Richard’s domain because of dialogue editing by Richard’s dialogue editor, Tony Martinez.

Lenny’s room is always busy and alive, and Felicia’s room is more subdued.

Our part, sound effects-wise, was crowd effects – party crowds that we circled around and used to fill out the space to help dialogue and/or group ADR not to feel like group ADR/party ADR.

It was a combo. But as far as all the on-camera microphones, that’s Tom’s department. It all starts with dialogue.

TO: We usually establish what is our focus, which is generally the principal actors. I’ll go through and try to shape that and get that to read properly.

… it’s a matter of trying to keep it real sounding.

Then we start building the rest of the world around it. In the case of the party scenes like that, there are production crowds but the trick with that is that a lot of it has bleed of the principal actors on it. And so it’s a matter of a bob and weave to make sure you can use pieces of that. Some of it’s clean because people are far enough away, but if they’re close to the principles, then sometimes I can’t use that because it’s going to have the principal actors and they’ll be off-mic and roomy and not really helping. So then we’ll add in the group and all of the effects crowds around that.

And it’s a matter of trying to keep it real sounding. And with the group, it’s potentially the least believable part of it if it’s not done properly. So the effects crowds help to create a world and a bed for all that to sit in. And then the group can give you some depth. So we have people that are closer to us and people that are further away from us and it can play against each other.

Again, it’s just a matter of us sitting there, combing through it multiple times to decide the proper ebb and flow of all that.

DZ: And each room of that party, in particular, has a different feel, which was orchestrated. Lenny’s room is always busy and alive, and Felicia’s room is more subdued.

 

What about the foley sounds for those party scenes? Was that challenging to mix in because the crowd was so lively?

DZ: Yeah, well, foley’s tricky in its own right because if it’s not performed by the artist properly, and if the sounds aren’t true, it’s hard to mix them in. Then again, if the sounds are good, and the foley was performed great, it’s a delicate balance to mix it into the scene. If it’s underplayed, you can’t hear it, but if it’s overplayed, it sounds like foley. That takes you out of the scene.

You don’t know what’s foley and what’s really production.

We had great foley on this show. Foley and group ADR kind of work hand in hand. You’ve got to use it and mix it against the dialogue and mix it properly to sit in there to make everything believable. And in that particular scene, I love the foley because all the movement and the footsteps and all that you would hear in a party fits so well into that scene that you believe it. You don’t know what’s foley and what’s really production.

 

Were there a lot of foley tracks to cover all of that? Because, gosh, there are so many people and they have drinks and they’re all moving around…

DZ: It was probably pretty average for a feature. The foley wasn’t super wide. In general, foley can tend to get wide. This movie was a challenge in a way because the whole movie was a 100% foley, like all movies.

We did three temps on this movie. During the first temp, we had to stay true to the era, through 50 years. Foley was used back in 1943, but it was used differently in 1943 than it is in 2023. So we had to be very careful not to overplay scenes in ’43 and in the ’50s, in order to make the illusion that we’re actually watching a movie from 1943 in the black and white sections.

…we had to stay true to the era, through 50 years.

That was a matter of sitting with Richard and Tom on the stage and then working with Bradley to pick and choose what we needed to hear and what you don’t want to hear in order to make those eras believable.

So as we went through the eras and we hit the color sections of the ’70s and ’80s, all of a sudden more foley is being played, and it’s more complicated.

But the challenge foley-wise in the black and white scenes was to make it all sound believable to the era. Like today, if you pay attention to a foley track, the person three levels back in the scene, you delicately hear the foley for them. But in 1943, that wasn’t the case. So we had to make sure that we didn’t take the viewer out of the movie. We’re mixing the movie in 2023, but we had to mix the eras.

 



The Sound and Music of Maestro


The Sound and Music of Maestro | SoundWorks Collection

Another thing Richard talked about was the sound effects in the sections where there was no music. The effects were musical in their scope and feel – to keep the musical feeling of the film going. Richard said they used a lot of wind sounds in a musical way, as well as birds and other natural sounds. Can you talk about your approach to mixing those more ambient sounds to keep the tone and mood of the scene going in the absence of music?

DZ: The whole track is musical. Everything about the track has a rhythm to it by design between Richard and Bradley and us.

Winds are a very big part of this movie – from delicate, nice, pastoral-type winds when their relationship is nice and growing and they fall in love to more tumultuous winds as their relationship starts to falter. The textures of the winds were very important.

It’s a very emotional thing when you’re mixing winds. It’s how it makes me feel that determines how I’m going to play it.

It’s a very emotional thing when you’re mixing winds. It’s how it makes me feel that determines how I’m going to play it. No pun intended, but you’re just riding the wind as the scene is emotionally telling you how to mix it.

TO: There’s like a wave and a flow to it that is a lot like orchestra playing – how things swell and dive out and come back and change between the different parts.

In many ways, this is all over the movie. The movie is designed to be symphonic, the whole thing and not just the music, because it has this flow to it and this grace, and this lyrical way of moving.

DZ: Even in the great iconic scene of the argument, the one-shot scene in their apartment during the parade. The crowds outside that scene, those Thanksgiving crowds, they’re ebbing and flowing as the argument is building. There’s a rhythm to that argument, too. If you listen to the dialogue, the way they’re speaking the dialogue is very rhythmic. And so once in a while, you’ll hear a bleed of a marching band go by or the crowd will cheer, but that’s all very much designed in a rhythm to the scene because life outside is going on while this argument is happening.

 



Watch a Thanksgiving Day Tirade in ‘Maestro’ | Anatomy of a Scene


Watch a Thanksgiving Day Tirade in ‘Maestro’ | Anatomy of a Scene | The New York Times

Yeah, and the sound of their kids yelling through the door, saying, “What are doing in there?” Those interruptions have a really musical feel to them…

DZ: Yeah, that’s the theme of the whole movie.

 

For you, what stands out about the sound of Maestro? Why should it win the Oscar for Best Sound?

TO: This mix and the sound of this movie is all about elegance and it’s about sophistication. It’s not about being bombastic. It’s not about hitting you over the head with anything. It’s about precision and the musical flow of the entire thing.

It’s about precision and the musical flow of the entire thing.

So it’s really a very delicate, nuanced thing, and that’s what I hope people can recognize. It’s not a matter of density; it’s not a matter of having tons of sound. It’s not a matter of how hard it is, or anything. It’s a matter of how precise it is. It spans these really intimate, delicate scenes all the way to these giant performances, like Ely where it’s this massive thing, but it’s all a matter of grace and beauty.

DZ: And if it didn’t take you out when you’re watching it and you believed every frame, then every department did their job. If we didn’t do our job well, all those beautiful costumes and that remarkable makeup and those beautiful performances, we would have tanked some of it if we didn’t stay true just like all those other departments.

Aside from sound, not only did Bradley have to learn to conduct, he had to learn to conduct like Lenny.

 

There’s that really great scene near the end of the film where Leonard is at the university instructing a group of students on how to conduct an orchestra. Every time the kid conducts it, you hear the differences – it’s a little bit different. And then Leonard gets up and conducts, and it’s definitely different. It’s really amazing! The performers and Bradley as the conductor were able to create those differences…

TO: That whole scene is all recorded live. That’s all real. When it came to the M&E, it was a problem because the whole music track has dialogue on it because all those players are sitting right there and they’re right up on them. So when Bradley is talking, it’s all in the mics of the orchestra.

Again, there was some little subtle trickery to make sure that there were those noticeable changes and differences to the performance in particular, that it was a little more wowing when Lenny did his part. But yeah, that’s all real.

 

That was all my questions! Thank you guys so much for doing this interview…

TO: Thank you.

DZ: Thank you so much.

 

A big thanks to Tom Ozanich and Dean Zupancic for giving us a behind-the-scenes look at the mix of Maestro and to Jennifer Walden for the interview!

 

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