Characters from Minecraft Dungeons approach with action Asbjoern Andersen


Find out how Mojang's audio team took the sound of Minecraft into a new direction - while staying true to the calm aesthetic of the original:
Interview by Adriane Kuzminski, photos courtesy of Xbox Game Studios
Please share:

Can you believe it has been over ten years since Minecraft was released as a public alpha? For those who played the early builds, it was clear that Markus “Notch” Persson had created the digital response to LEGOs, with an addictive universe that begs players to explore, build a fortress, and create blocky works of art that become more impressive every year. Since then (as we all know) it was purchased by Microsoft for $2.5 billion and grew into a powerhouse franchise complete with toys, card games, fan conventions, VR ports, and an expanding universe of games.

The sound design has come a long way, too! While “Vanilla” Minecraft hasn’t strayed far from its sparse, relaxing piano melodies and practical sound effects, the recently-released Minecraft Dungeons features a whole new world as an Action Role-Playing Game (ARPG) with exciting battles, more characters, and a massive, beautiful map. In this interview, Audio Director Samuel Aberg, Composer/Sound Designer Peter Hont, and Sound Designer Rostislav Trifonov share how they built these lovely soundscapes and took the sound of Minecraft into a new direction while staying true to the calm aesthetic of the original.
 



Minecraft Dungeons: Official Launch Trailer


Minecraft Dungeons: Official Launch Trailer

 
Hello all, and thank you for speaking with us. First off, it’s interesting how Minecraft Dungeons is epic and action-oriented yet the serene soundscapes and music are balanced in a way that no energy is lost during the combat scenes. How did the team ensure that Dungeons would be aesthetically compatible with the past Minecraft games while bringing the franchise in a new direction?

Peter Hont: I think our guiding light was always the visuals. Had we gone down the traditionally dark ARPG visual style, the audio would have followed suit. As it turned out, we ended up creating a more accessible and light-hearted game. I believe that is what made it clear for us how to treat the legacy of Vanilla Minecraft in a more hectic setting. In one word, spoopy.

Rostislav Trifonov: Our goal was to capture both the relaxing atmosphere of Vanilla Minecraft and blend it with more cinematic/fantasy type of hack and slash combat elements. The result was that the player can experience both being able to relax and enjoy the surrounding world, and at the next moment engage in an intense action-driven battle. While the music and ambiance is serene, we accentuated the battles with layers of hard-hitting cinematic and fantasy effects. Moreover, we wanted to develop further the Minecraft feel by blending in a bit of an arcade feel on top of the fantasy and magical elements. The result I believe is a pretty unique combination of genres that proves the Minecraft universe could potentially keep expanding in many different directions :)

Samuel Aberg: Dungeons is action oriented, so to second what is stated above: we were sort of forced to follow suit. With joy we did! Who doesn’t want to design a Harp Crossbow? A mini boss encounter of an Enderman that makes the whole screen dark and static? All these elements not only brought a lot of new things to our world, but also did so with a lot more detail than in Vanilla.

I think it’s very important to anchor the experience with a "feel at home" element for our players.

One of the challenges was of course then: authenticity. For a feeling of a true authentic Minecraft game I think it’s very important to anchor the experience with a “feel at home” element for our players. The Camp is the player base in Minecraft Dungeons. This also happens to be the most Vanilla Overworld-looking and feeling place in the game. This became the perfect spot for that authenticity anchor. My philosophy is that if we succeed in creating this soundscape in a way that feels at home and authentic to our players; we can take out the turns quite vividly out on the levels of battlefield without losing the authenticity of the brand. Personally I think the music alone in the Camp is one of the best things we created in the whole game.

We decided early on, which I think resonates with Vanilla Minecraft as well, that things are allowed to sound scary and heavy hitting. This is a universe that is filled with both light and dark magic.

The villager comes across a glowing Enderman at night.

Credit: Press a Key Blog – https://pressakey.com/gamepix/5871/Minecraft-Dungeons-240151.jpg

As you entered the dungeon crawler sphere, did you find inspiration from the sound of other games in this genre, like Diablo III, Torchlight, or even The Legend of Zelda?

PH: I believe the entire team brought their own perception of what all of those classic games mean in terms of aesthetics. However, I would say that the explicit nods to our ancestors in the genre were kept to a minimum, seeing as we wanted to stay true to what Vanilla Minecraft is and should be about for the foreseeable future. To me that is a sense of limitless adventure and mystery, conveyed through vague ideas and broad concepts. Specifically I believe that the music was helped a lot by this, as it currently sits in between being simple and readable, while giving listeners clues about their environment without standing in the way of the goal of the adventure.

RT: As a big fan of the mentioned games, I was definitely influenced by the ‘feel’ of their soundscape. I have personally grown up with Diablo and I believe it has definitely inspired me to develop my own style of fantasy and magic sound design, which I would say I specialize in. It’s definitely an amazing experience to be able to take the fantasy genre to the next level by combining it with the iconic Minecraft style.

SA: In the beginning of the development I played a lot of Diablo and Torchlight, so I’m sure I have drawn inspiration from that. The audio elements of the arcade visuals, such as Emeralds and Beams were something completely new to the Minecraft universe. The inspiration I drew for some of those definitely could stem from Zelda and Final Fantasy.

Good design is appreciated. Great design will meet some resistance before its greatness is recognized.

It’s a balance act. It’s great if one shot sounds are recognizable and “popping”. But at the same time: they need to somewhat fit and not become intrusive. This has been one of the most challenging parts for me designing sound for Dungeons. I was first very unsure if I liked the emerald sound design. I usually feel sounds like these have a high risk of becoming slimy and being “video game sounds” they are too easy to like. I remember when the team tested out the emeralds for the first time and all really instantly loved the pick up noises. I still have conflicting feelings about it. Good design is appreciated. Great design will meet some resistance before its greatness is recognized.

 
Were many sounds from Vanilla Minecraft used? What is the oldest sound effect from Minecraft that is still in use today?

PH: Haha, YES! There are a lot of assets in the game, so recreating them all from scratch was never an option I think. However, we did remake many of them, adding to them what I believe is the essence of Dungeons: action.

Explosions and weapon impacts needed to be louder, though not necessarily more complex. Mobs needed more animation-specific sounds, though they didn’t have to be realistic. The music needed to convey the pacing of the game as a child of Vanilla Minecraft, without confining itself to the ARPG genre. That’s one of the reasons why I believe people have reacted so positively to the audio. It feels like Vanilla Minecraft, but set in a totally different world.

I don’t know what the oldest sound is, so I’ll leave that to grandmaster Samuel to provide that answer.

SA: Not all, but most sounds that you hear throughout the game are remakes of “classic” sounds from Minecraft. Everything from UI, chat wheel and mobs all have a base of vanilla in them.


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


Trending right now:

  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Sound-wise, the quality of ‘Cinematic Metal Whooshes’ is clear and punchy, and very consistent from start to finish. The whole content promises to be a tool to get you going in your cinematic adventures – and it delivers.”

    50 %
    OFF
    Ends 1719266399
  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $39.50

    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.

    50 %
    OFF
    Ends 1718575199
  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $25

    This library is a continuation of my first library A Fluorescent Bulb. This contains 6 more fluorescent light hums/buzzes with nice plinks and warming sounds. For each light there is at least 2 minutes up to 5 minutes of tone, and a second file with a manipulated light switch where you get multiple plinks and buzzes. The tone of this library is a bit higher pitch than the first 6 bulbs from the first library

    29 %
    OFF
  • Game Audio Packs Mobile Game Play Track 578 sounds included, 30 mins total $42

    Inspired by app market hits like Clash of Clans and Candy Crush, we present to you Mobile Game – a truly fun and genuinely gameplay inspired sound effects library. Filled with a thorough selection of popular game ready audio assets, Mobile Game gives you sounds that you can quickly implement inside any game to give it a familiar “hit app” game feel.

    • Includes 578 files
    • All files in .Wav 96k 24bit
    • Plus game ready mp3 files
    • Inspired by today’s best App Games
    • Includes Soundminer metadata
    • 891.9 MB of samples

    Mobile Game features sounds such as:

    Bubbles • Building • Coins • Crafting • Mechanisms and Contraptions • Musical Stabs • Objective Completes • Pick Ups • Potions • Tonal Designed Organic fx • UI/Menu • Upgrades

    14 %
    OFF

Latest releases:

  • Presenting the most malfunctioning, dirty old gritty sounding engine failure library out there

    Featuring a staggering 81 files with numerous takes in most tracks, the Kaput sound effects library will cover the bases of almost any broken false starting engine scene one can imagine.

    I can honestly say, that finding the vehicles and tools for this library, has been among the most challenging I have come by. Old and broken cars and trucks are hard to come by these days. Most cars are obviously either driving and dont have start problems, and many of the rest just wont start at all.

    Just as rare are broken petrol powered tools, which usually fit the latter category of not working at all.

    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

    24 different cars, trucks, moped and motorcycles

    1 boat engine

    A few weird sounding power generators and water pump motors

    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

    Brutal construction machines

    From old eastern european trucks, vintage US V8 muscle trucks, classic scandinavian cars, and more modern diesel and petrol engines to funny sputtering dying petrol power tools.

    There is even a few more recording sessions planned, that just didn’t make the deadline for the first batch of sounds in this library (buying a copy of this first of sounds, will of course make any future sounds added to the library free of charge).

    KAPUT is 81 stereo and mono files, 96/24. 1,6 gb big, all UCS ready!

  • Hear the majesty of tropical seas from soothing surf, trickling water laps, and crashing wave sound effects.

  • ACOUSTIC GUITAR FOLEY FOR YOUR PROJECTS
    The SB111 ACOUSTIC GUITAR FOLEY Sound Effects Library is a collection of handling movements, grabs and sets, string noise, drags, impacts, strumming, fingerpicking, tuning, and the smashing and destroying of an acoustic guitar.

    A UNIQUE ACOUSTIC GUITAR FOLEY LIBRARY
    We’ve gone above and beyond just capturing the sounds of strumming and picking – we’ve recorded the nuances and details that make acoustic guitars so special. Like the subtle sounds of the guitar strap as it settles against your shoulder, string noise of fingers on the fretboard, the satisfying sound of the guitar being tuned, grabs and set downs, strings being clipped and even a full restringing sequence. Of course we’ve also included the playing of chords and riffs while strumming and fingerpicking – some played in tune and some out of tune. We did not forget to record your pick as it rattles around in the abyss of the guitar’s sound hole – and the satisfying sound of the guitar being smashed and destroyed. All the details you need to bring realism to your project.

    20 %
    OFF
    Ends 1719525599
  • The Drawers & Cupboards SFX library is an essential collection for professionals seeking high-quality sound effects for their projects. This library features 63 meticulously recorded sounds of opening, closing, and rummaging through cupboards and drawers, making it perfect for game developers, animators, and filmmakers.

    This library offers a diverse range of sounds, including:

    • Opening and closing cupboard doors
    • Picking up glass bottles
    • Rummaging through various materials (glass, mixed materials, containers, plastic)
    • Metal and wooden drawers opening and closing
  • Car Sound Effects Broken Car Engine Play Track 5 sounds included, 28 mins total $27

    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.

SUPERDEALS - don't miss these:

  • Coll Anderson ‘s famed Battle Crowds library is the world’s largest collection of battle crowd sound effects, covering huge crowds as they’re deep in battle, celebrating and cheering, screaming, yelling, protesting, begging, crying and much more, as well as troop movements and marching through fields, forests, and around buildings, individual call-outs, marching and more. If you’re looking for the ultimate collection of battle crowd sounds for huge clashes, civil unrest and protests, or smaller skirmishes – captured from multiple perspectives – this is it!

    This special version brings you both the Battle Crowds Core and Add-On libraries in one powerful bundle.

    50 %
    OFF
    Ends 1718488799
  • Ambisonic Sound Effects Room Tone Play Track 60 sounds included, 311 mins total From: $109 From: $79

    Sound Tailor Effects Library enters the void with its 3rd release:

    60 sounds, 5+ hours of rich and deep room tones, with a variety of sizes and environments that will cover most of sound editors needs. From a quiet residential bedroom to an reverberant inactive hospital hall, a ventilated office space, or a noisy basement, we carefully chose the right place at the right time, to get the best from those empty spaces.

    We’ve recorded with a combination of 7 low noise microphones, 1 ambisonic microphone and 1 geophone, dispatched on a wide rig, to get the best spatial impression, allowing us to deliver a true 7.1.2 format, plus ambisonic, 5.1 and 2.1 versions. The sub channel, provided by the geophone and its low frequency response, has been a shocking surprise for us, and is a real colorful and creative addition.

    You can choose between several spatial format combinations, to suit your needs. All versions includes a stereo mixdown, and all files are loopable.

    Sound Tailor’s Room Tones is UCS compliant, and delivered in high resolution 96kHz/24 Bits.

    25 %
    OFF
    Ends 1718920799
    25 %
    OFF
    Ends 1718920799
    25 %
    OFF
    Ends 1718920799
    25 %
    OFF
    Ends 1718920799
    28 %
    OFF
    Ends 1718920799
    25 %
    OFF
    Ends 1718920799
  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Stefan Kovatchev – Audio Director (MultiVersus)
    “Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”

    Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
    “Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    50 %
    OFF
    Ends 1719266399
  • The whole 9 yards.
    Comprised of seven heavy hitting libraries, this bundle includes INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all SEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN:
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI Fi:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    Interactive:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


    40 %
    OFF
    Ends 1718575199
Need specific sound effects? Try a search below:


Dungeons finds a sweet spot in being bright and fun while also rather dark and creepy. How did you craft the soundscapes so they appeal to adults fans but would not be too scary for young children?

PH: I want to give credit to the rest of the team here since what they did guided us in what direction to take the audio. Again, the visuals were key. We basically didn’t have any other written guidance than to not include voices other than the sounds made by mobs. In terms of keeping it lagom™ scary, I believe one contributing factor might be the scarce use of realistic animals, and subsequently animal sound effects. What is perceived as mild horror themes is to me derived from the game not being realistic more than the odd cow, etc., here and there. Had the player screamed in agony when killed, that would have meant the creation of at least ten forum threads made by concerned parents. Instead, focusing on the weight of the impact, both in terms of sound effects and music makes the concept of dying more abstract and, perhaps in a morbid way, fun.

RT: When I tried Minecraft for the first time I remember that I had a really chill time, walking around mining or picking flowers. Then suddenly night came and I found myself in this scary world where I was being attacked by a mob of creatures. I quickly barricaded myself in a house and had to wait it out until the morning. Hearing the sounds outside in night time was a bit scary hehe, especially the Creeper noise from behind my back always got my heart pumping. I thought it would be really nice to enhance that feeling in Dungeons – having a good contrast between the relaxing atmosphere and then sudden intense moments when engaging in combat.

I think a main obstacle for sound designers is that they think kids can’t handle scary things at all. I think young kids and adults are drawn and attracted to scary things.

SA: I think kids can handle scary things. But we do have “rules” to balance this. Like no blood and gore. The players portrayed are skins of your choice, so they don’t have a voice on their own. If you ever played Minecraft as a kid or adult, I think most players can agree the game can be both joyful and calming while also very scary. I think we found that balance in Dungeons as well. I think a main obstacle for sound designers is that they think kids can’t handle scary things at all. I think young kids and adults are drawn and attracted to scary things. But the darkness in Minecraft, be it Dungeons or Vanilla, does not attack you. It sort of lures you in to keep exploring. I’m positive most players can handle a jump scare here and there if done in an elegant way. It will keep the players alert.

A swarm of skeletons approach a team of players.

Credit: Minecraft Blog: https://www.minecraft.net/en-us/article/minecraft-dungeons-news

As far as the human sounds – the moans, groans, howls, growls, and cow grunts – did you record these at the studio, and did they all come from one voice actor?

RT: That’s true, a lot of the mobs use human recordings as source. We try to expand our voice actor arsenal. We record them both at the studio and I personally sometimes do it in my home studio using a broad selection of mics. I noticed that using a shotgun mic when in an untreated room helps minimize the noise, which is especially important with voice recordings. I do use animal recordings as well for animals or more fantastical mobs.

SA: After five years with Minecraft and voicing most of the fantasy mobs myself I’m very happy the audio team is growing. We need more and better voice actors :)

 
Did you happen to find any inspiration from TT Games’ LEGO series for the cutscenes, since underneath the narration your characters also communicate nonverbally?

RT: I haven’t really played any LEGO games yet hehe. I drew inspiration mostly from the original Minecraft mob voices, since I’d say we have a vocal style that we follow in Minecraft.

Try to not overthink it. And just record.

SA: No, I wouldn’t say so. When it comes to mobs voice overs. I can sincerely say that most of them are more art by accident than anything else. I look at the mob. Try to not overthink it. And just record. Put some cool effects on top to not feel too ashamed. By now, we have ‘rules’ for some of them like villagers and illagers. Techniques of recording, effect chains and not using syllables. But these rules have more formed themselves throughout the years, rather than being a strategic philosophy from day 1.

 
Especially as the world of Minecraft expands, are there any Minecraft characters that you enjoy designing the most?

SA: My favorites have to be the undead and scary mobs. They are easy. You can transform almost any sound to fit these creatures. For the Phantom, heard in both Vanilla and Dungeons, I used recordings of my baby son screaming. With some heavy effects on top it gave a strong esoteric feeling that really fit the insomniac night monster that is the Phantom.



Minecraft Phantom Sound Effects | Flaps, Idles, Deaths, Hurts, and Swoops!


 
That’s pretty creepy! Or perhaps spoopy? :) Do you have any other fun stories or discoveries from recording and designing?

PH: One thing people might find interesting is that the urns breaking is not just some library sounds put together to create the effect. It was literally me, a few unlucky flower pots, and an axe. Although I often find myself having a sort of “what you see is what you get” mentality when designing sounds, this must be one of my more literal interpretations. The player smashes something that looks like a pot -> I smash something that is a pot. A not so safe working environment perhaps, but I had fun and it made for great breaks and cracks so I am happy.

RT: One of the funniest things I’ve done so far was mapping insect recordings on a sampler and playing a humorous arcadey melody to create an item sound. That’s what I love about working in the Minecraft universe – many of the characters and items can only be found in here. Which gives us endless possibilities to experiment with unique approaches and combinations.

SA: A small group of people made the design for the Key Golem on a Friday afternoon, where we usually have Gaming Friday in the office. The game of the day was Mario Kart 7. As I was walking by they were on the level Shy Guy Falls. The track where you can hear shy guys “wao-wao singing” in the background. Went in the recording room very inspired. I think most people would hear the resemblance. The Key Golem visuals and audio have become one of the most iconic and loved mobs in Dungeons. It’s funny how things like this still can happen more by accident than anything else.

 

Highlights from A Sound Effect - article continues below:

 
  • Using the popular module format, the 6030 Ultimate Compressor offers ten different compressors. All of these designs are by McDSP – some completely from the ground up, while others are emulations of existing gear with unique variations created by McDSP. Each 6030 Ultimate Compressor module is easy to operate, and yet has enough sophistication for the most discerning professional.

    Whatever your style, from smooth tube emulations to aggressive solid-state designs, the 6030 Ultimate Compressor has a custom-made dynamic range control module that is just right for you.

    Features
    • Unique twists to classic designs in addition to several completely new designs
    • Multiple compression algorithms in a single compressor
    • Side chain support
    • Analog Saturation modeling
    • Double precision processing
    • Ultra low latency
    • Mono and stereo versions

    Formats
    • Native v7: AAX Native, AU, VST

  • The AE600 is the next generation of active equalization. New and unique EQ modes, independent control of fixed and active EQ bands, and an ultra low latency algorithm make the AE600 the perfect solution for any audio production.
    Every fixed and active band in the AE600 has its own gain, frequency, Q, and mode controls. EQ mode options include parametric, proportional Q parametric, 5x Q parametric, Baxandall shelving EQ, vintage styled EQ, X-style shelving EQ, Baxandall shelving EQ plus filtering, and high and low pass filtering. All bands are completely overlapping and can use the input signal or selected side chain inputs to trigger the active EQ response. The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot.
    The AE600’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE600 (and AE400) active equalizers by McDSP.
    Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE600.

    Features
    • Six fully overlapping fixed and active EQ bands
    • Independent control over all fixed and active EQ parameters per band
    • Selectable EQ mode per fixed and active bands
    • Unique active EQ ratio response control
    • Side chain support
    • Double precision processing
    • Ultra low latency
    • Mono and stereo versions

    Requirements

    McDSP HD and Native plug-ins are compatible with Pro Tools, Pro Tools HD, Logic 9 and Logic X, Cubase, Nuendo, Ableton Live, MOTU Digital Performer (DP), Studio One, and other DAWs that support AAX, AU, VST, and/or VST3 plug-in formats. McDSP HD plug-ins also support the Avid S3L and S6L live sound systems running VENUE OS 5.x or later.

    McDSP Native plug-ins support AAX Native, AU, VST, and VST3 plug-in formats. McDSP HD plug-ins additionally support the AAX DSP plug-in format, as well as AAX Native, AU, VST, and VST3 plug-in formats. McDSP plug-ins support Mac OS 10.7.2 or later (Lion), 10.8.x (Mountain Lion), 10.9.x (Mavericks), 10.10.x (Yosemite), 10.11.x (El Capitan), and Windows 7, 8 and 10.

    McDSP plug-ins require an iLok2 USB Smart Key for authorization.

    McDSP AAX plug-ins require Windows 7 or later, Mac OS 10.7.2 or later, and support Pro Tools 10.3.8 or later, 11.1.3 or later, and Pro Tools 12.x or later.

    McDSP AU plug-ins require Mac OS 10.7.2 or later, and support Logic 9 and Logic X, Digital Performer, Ableton Live, and other AU compatible DAWs.

    McDSP VST and VST3 plug-ins require Windows 7 or later, Mac OS 10.7.2 or later, and support Cubase 7.x or later, Nuendo 6.5.x or later, and other VST and VST3 compatible DAWs.

    Formats
    • Native v6: AAX Native, AU, VST

  • FilterBank, McDSP’s first product, is an equalizer plug-in that rivals any analog EQ with its flexible design and substantial feature collection.
    FilterBank can emulate any EQ, or be used to create a distinct custom EQ.

    FilterBank is 3 plug-ins:
    • E606 – parametric, high and low shelving EQ, high and low pass filters
    • P606 – parametric EQ with variable Q modes
    • F202 – steep high and low pass filtering with resonant Q control
    With its unique Peak, Slope, Dip controls and variable Q modes FilterBank can emulate any EQ, or be used to create a distinct custom EQ.

    Features

    • Shelving and Parametric EQ
    • High and Low pass filters with resonance control
    • Unique Peak-Slope-Dip Shelving EQ parameters
    • Variable parametric Q modes
    • Analog Saturation Modeling
    • Double Precision Processing
    • Ultra Low Latency
    • Mono and Stereo versions

    Formats
    • HD v6: AAX DSP/Native, AU, VST

  • Dialog. The focal point of any movie, television show, documentary, or for that matter, any creative media production involving the spoken word. Add to the mix a sweeping musical score, dozens of foley effects, and plenty more – and it becomes clear the job of dialog mixing is a tall order. After all, if you can’t hear what the actors are saying, why watch it at all!!

    The SA-2 Dialog Processor is based on hardware originally conceived by Academy Award winning re-recording mixer Mike Minkler and used on over 100 major motion pictures. The SA-2 is designed to improve the overall sound of recorded speech. But the SA-2 is not just for dialog. It’s equally useful for vocals, and is a great tool for adjusting the timbre of any track, a reliable de-esser, and a fine multi-frequency compressor, in our completely biased opinion.

    The SA-2 Dialog Processor is made up of 5 bands of strategic active equalization, configured in a variety of modes to best address common issues of dialog. Each band of active equalization has a threshold control to determine at what signal level the active equalizer begins to effect the signal. There are also enable buttons for each band to quickly audition the effect of any given band. Two mode selectors – one for controlling the ballistics of the active equalization, and a second for placing the five bands at strategic locations in the frequency spectrum. Finally, there are input and output gain controls for overall adjustment.

    Features

    • Five independent bands of strategic active equalization
    • Multiple process modes for a variety of applications
    • Unique signal reduction metering
    • Double precision processing
    • Ultra low latency
    • Mono and stereo versions

    Formats
    • Native v6: AAX Native, AU, VST

  • 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

    DOWNLOAD THE DEMO HERE
    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.


 
Since many of you have musical backgrounds (which is apparent from the game’s many musical sounds), what was the collaboration like for these sound effects, and were the musical tracks a collaborative effort with Johan Johnson, too?

I think we used the sound effects in a very literal way … The musical elements are, with exception for some of the bows, conveying a more abstract idea or feeling.

PH: I think that grew organically from all of us being at least somewhat musically active at some point in time and wanting to use that as an additional layer when communicating with the players. I think we used the sound effects in a very literal way, conveying materials, weight and other concrete, physical parameters. The musical elements are, with exception for some of the bows, conveying a more abstract idea or feeling. For example there is a bow where the arrangement is a pastiche of baroque music to fit the exalted nature of the bow’s origin that the name and description implies.

I believe Johan was the sole composer for the first 2 years of development. My contribution was born out of necessity as we needed more music than Johan had time to produce. So without ever talking directly to him, I tried to mix what he had done thus far with elements that I thought would fit the genre, the game, and the story as a whole. I think people have appreciated the mixed styles quite a lot.

RT: I actually began my audio journey with electronic/ambient music. Eventually my career transitioned into sound design, which was a natural progression since I liked to create spatial musical soundscapes. I always try to approach sound effects from a musical/tonal standpoint at the start of the design process. I try to blend in the pitch of all the different elements together and also make sure the final effect works with the music or ambiance tonally. Also, sometimes I like to play sound effects through synths for additional morphing (using the synth’s effects, etc.).

Vindicators and Creepers cross a foggy bridge.

Credit: Windows Central: https://www.windowscentral.com/minecraft-dungeons-guide-how-fight-and-defeat-creepers

With Dungeons as the first Minecraft game to make the jump to Unreal Engine 4, what tools did you all use to implement the sound and create the lush, spatialized environment that wraps its players like a warm blanket?

PH: While there are definitely examples of us exploring designs based on multi-layered parameter driven implementation, I would say we focused way more on the design of the static sounds themselves. The core ideas if you will. We didn’t use any middleware or proprietary engine for that matter, but instead decided to work within UE4 itself. It was a challenge for us since none of us have a particularly developed skill set when it comes to programming, but with ongoing support from the rest of our team we managed to find a solution that fit our intention of keeping things simple.

RT: I have personally used solo UE4 quite extensively over the years and I believe it’s a great tool to master. Even on its own without any middleware it could achieve great results but usually the implementation process and mixing in-engine could take a little bit longer. UE Blueprints could offer almost an endless array of tools to create nearly any system one wants. On the other hand, older versions UE4 had a few setbacks as well I believe, such as the limited reverb settings but thankfully there is convolution reverb now which is an amazing upgrade :)

 
On top of the detailed spatialization, text-to-speech has helped Minecraft Dungeons push forward blind accessibility in games (with this game streaming on several channels owned by blind gamers). Were there any elements of accessibility that you took in mind while planning the sound for the game?

I think the integration between accessibility and traditional design will increase even more in the coming years and I hope we can be a part of that inclusive development.

PH: We were aware of the benefits that the amount of spatialization would have for blind players. It was however something we discovered along the way rather than something we aimed for at the start. Regardless of accessibility as we tend to think about it, a good rule of thumb is to be able to play the game blindfolded, being guided just by audio. So I think all of us are very happy to hear that people are able to play the game that way. I think the integration between accessibility and traditional design will increase even more in the coming years and I hope we can be a part of that inclusive development.

SA: As a general design philosophy I think accessibility is great to keep in mind. If you don’t communicate clearly, you fail on accessibility. We discussed this quite a lot during audio development. We could have done even better and that is something I hope to improve on future products.



Minecraft Dungeons Diaries: Sound


 
And finally, Samuel, since you have worked at Mojang since 2015 – going from Lead Sound Designer on Minecraft to Audio Director of Dungeons – what has been most exciting for you to see as the franchise evolves? Were there any particularly challenging decisions that you made as Audio Director to help the series take this bold step forward?

The future will be challenging, but it will also be rewarding.

SA: Dungeons is definitely one of the most exciting things that has happened since my start. The updates we do for Vanilla are getting bigger and better for each time as well, so that’s also very exciting. Right now I feel very happy that we are a growing audio team working with sound and music. It has of course also been a huge challenge to suddenly explain how and why I have done things in a certain manner. But it has been very educational both personally and professionally. I feel we are in very exciting times in Minecraft history and that the audio team is standing on solid ground. We have proved with Dungeons and the Nether Update that the audio department of Mojang has improved and matured a lot since I started. We will always have the challenge of keeping authenticity while developing and innovating. Lastly it will be up to us to keep this balance, and I’m sure it will be a huge challenge. But I’m very confident in the audio team we have today.

The future will be challenging, but it will also be rewarding.

 
Any final thoughts you’d like to share?

SA: Look for the eye.
 

A big thanks to Samuel Aberg, Peter Hont, and Rostislav Trifonov for giving us a look at the boldly evolving sound of Minecraft Dungeons – and to Adriane Kuzminski for the interview!

 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $39.50

    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.

    50 %
    OFF
    Ends 1718575199
  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Sound-wise, the quality of ‘Cinematic Metal Whooshes’ is clear and punchy, and very consistent from start to finish. The whole content promises to be a tool to get you going in your cinematic adventures – and it delivers.”

    50 %
    OFF
    Ends 1719266399
  • Farm & Horse Sound Effects Animal Farm Play Track 165 sounds included $69

    This library is dedicated to popular farm animals, rural backgrounds and agricultural activities – all you need around farm life. It features 165 sounds in total, from 14 different species with multiple variations for each animal, 25 discreet rural backgrounds and 10 types of modern and traditional agricultural activities.

    Recorded and mastered at 24-bit/96kHz high-resolution, Animal Farm took over a year to get ready, since the goal was to capture as many seasonal work activities, weather conditions and animal habits, as possible.

    List of animals recorded: Cat • Chicken • Cow • Dog (Wolf hound, Sheepdog) • Duck • Fowl • Goat (Mediterranean) • Goose • Horse (Arabian, Andalusian) • Pig • Pigeon • Rooster • Sheep (Mediterranean) • Turkey

    Types of agricultural work recorded: Chopping • Feeding • Gardening • Loading Manure • Milking • Mowing • Olive harvest • Sowing • Tilling • Watering

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Presenting the most malfunctioning, dirty old gritty sounding engine failure library out there

    Featuring a staggering 81 files with numerous takes in most tracks, the Kaput sound effects library will cover the bases of almost any broken false starting engine scene one can imagine.

    I can honestly say, that finding the vehicles and tools for this library, has been among the most challenging I have come by. Old and broken cars and trucks are hard to come by these days. Most cars are obviously either driving and dont have start problems, and many of the rest just wont start at all.

    Just as rare are broken petrol powered tools, which usually fit the latter category of not working at all.

    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

    24 different cars, trucks, moped and motorcycles

    1 boat engine

    A few weird sounding power generators and water pump motors

    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

    Brutal construction machines

    From old eastern european trucks, vintage US V8 muscle trucks, classic scandinavian cars, and more modern diesel and petrol engines to funny sputtering dying petrol power tools.

    There is even a few more recording sessions planned, that just didn’t make the deadline for the first batch of sounds in this library (buying a copy of this first of sounds, will of course make any future sounds added to the library free of charge).

    KAPUT is 81 stereo and mono files, 96/24. 1,6 gb big, all UCS ready!

  • Hear the majesty of tropical seas from soothing surf, trickling water laps, and crashing wave sound effects.

  • ACOUSTIC GUITAR FOLEY FOR YOUR PROJECTS
    The SB111 ACOUSTIC GUITAR FOLEY Sound Effects Library is a collection of handling movements, grabs and sets, string noise, drags, impacts, strumming, fingerpicking, tuning, and the smashing and destroying of an acoustic guitar.

    A UNIQUE ACOUSTIC GUITAR FOLEY LIBRARY
    We’ve gone above and beyond just capturing the sounds of strumming and picking – we’ve recorded the nuances and details that make acoustic guitars so special. Like the subtle sounds of the guitar strap as it settles against your shoulder, string noise of fingers on the fretboard, the satisfying sound of the guitar being tuned, grabs and set downs, strings being clipped and even a full restringing sequence. Of course we’ve also included the playing of chords and riffs while strumming and fingerpicking – some played in tune and some out of tune. We did not forget to record your pick as it rattles around in the abyss of the guitar’s sound hole – and the satisfying sound of the guitar being smashed and destroyed. All the details you need to bring realism to your project.

    20 %
    OFF
    Ends 1719525599
  • The Drawers & Cupboards SFX library is an essential collection for professionals seeking high-quality sound effects for their projects. This library features 63 meticulously recorded sounds of opening, closing, and rummaging through cupboards and drawers, making it perfect for game developers, animators, and filmmakers.

    This library offers a diverse range of sounds, including:

    • Opening and closing cupboard doors
    • Picking up glass bottles
    • Rummaging through various materials (glass, mixed materials, containers, plastic)
    • Metal and wooden drawers opening and closing
  • Car Sound Effects Broken Car Engine Play Track 5 sounds included, 28 mins total $27

    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.


   

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.