Mufasa The Lion King film sound design Asbjoern Andersen


Director Barry Jenkins wanted a big, bold sound for his Disney animated film Mufasa: The Lion King. He joined forces with supervising sound editor/re-recording mixer Onnalee Blank, who in turn, enlisted an all-star post sound crew.

Here, Blank, Harry Cohen, Paula Fairfield, and Luke Gibleon talk about their journey of perfecting the film's sound for over three years, creating a darker vibe for the outsider lions, cutting and mixing lion sounds to play beside and underneath the actors' dialogue, crafting immersive backgrounds using layer upon layer of individual sound effects, pitching and timing sound effects to the score and songs, and so much more!


Interview by Jennifer Walden, photos courtesy of The Walt Disney Studios; WBPPCS; Paula Fairfield
Please share:

Animated films typically take longer to make than live-action films, but spending 3 ½ years creating sound for a film – even an animated one – is certainly extraordinary. The sound team on Director Barry Jenkins’s animated Disney film Mufasa: The Lion King spent that time productively – evolving the sound to match and sometimes inform picture changes, reworking scenes, experimenting with new techniques, and perfecting every detail. Jenkins wanted a big, bold sound – often giving notes asking to make things “bigger” – and he gave his sound team time to do just that.

Barry teamed up once again with Emmy, CAS, and MPSE Award-winning supervising sound editor/re-recording mixer Onnalee Blank at Warner Bros. Post Production Creative Services in Burbank, with whom he had worked on his Amazon Original series The Underground Railroad. Blank built an all-star, award-winning sound team that included sound designer Harry Cohen, sound designer Paula Fairfield, sound designer Luke Gibleon, and many more named below in the story.

Here, Blank, Cohen, Fairfield, and Gibleon talk about their journey of crafting the film’s incredible sound, from building backgrounds using layers of individual birds and bugs, cutting tons of lion sound effects to play beside, in between, and sometimes underneath dialogue, pitching and timing sound effects to songs and score, adding constant movement and -bys using Doppler processing, making action scenes exciting yet not scary for young audience members, editing hundreds of foley tracks to make the realistic-looking animation feel even more lifelike, and much, much more!



Mufasa: The Lion King | Official Trailer


Mufasa: The Lion King | Official Trailer

There are so many talented sound people on this film. In addition to Paula, Harry, and Luke, who are present for this interview, you had George Vlad (as sound recordist) and Watson Wu (as animal sound effects recordists), Sebastian Dunn (sound recordist), Heikki Kossi, Dan O’Connell, and Gary Hecker on foley, Jay Jennings (sound designer), Benjamin Cook (sound editor), Katie Halliday (sound effects editor), and more. How were you able to bring all of these amazing people together?

Onnalee Blank (OB): It happened organically. The movie schedule was extended, so many of us – myself included – were on for 3 ½ years. Harry [Cohen] was with me the longest, spending around 70 weeks on the project. Next was Luke [Gibleon], who worked with me and director Barry Jenkins on Underground Railroad, as well as with Jay Jennings and Harry.

When coming up with how we should approach the sound design on Mufasa: The Lion King, Harry had a huge job of tackling all of the animal sounds, but I really wanted the outsider lions to sound different than what Harry was doing. So that was Paula [Fairfield]’s task. It played really well in the film because they had such different character to them sonically.

Mufasa_sound-02

Sound Supervisor/Re-recording Mixer Onnalee Blank

The first drawings for the film were wireframe drawings, and Barry wanted to present a fully fleshed-out sound to the studio. He wanted a full foley pass to drawings, so Heikki Kossi (who was still in Finland) had just finished working on Underground Railroad with me and I asked him, “Can you do a full foley pass to drawings?” He replied that he’d never done that before, but would try his hardest. That was challenging actually, because as we were working on it, he asked, “What surface is this?” And said, ” I don’t know…lion floor.” You want to channel that hilarious, True Romance statement. Since the drawings were jerky, creating a surface and a fluid, graceful movement through foley helped Barry formulate the story.

From there, the drawings turned into claymation characters, and that then turned into animation. During that time, Heikki was moving from Finland to take over for John Roesch at Skywalker Sound, so he was unavailable. That’s when I hired Dan O’Connell and Gary Hecker to help fill in some other parts. Dan O’Connell ended up finishing the movie in a beautiful way.

Everybody’s sound carried forward. So we had Heikki’s feet with Dan O’Connell’s feet; sometimes Mufasa’s feet tracks were between 4 and 8 tracks wide – just for him. So for every character, you’re looking at something like 100 tracks of just feet. It was a lot of material.

I edited that with Luke [Gibleon] and Katie Halliday. We tackled it together. Katie Halliday did the brunt of the foley editing as everyone else started getting busy on their other tasks. I think her eyeballs were popping out of her head by the end of the film. But it came together nicely. The foley sounds amazing.

 

Mufasa_sound-01

The look of the animation is so realistic, and having that incredible foley took the visuals even further. It really sold it…

OB: It was a very different way to shoot animation. There’s no motion capture at all. There weren’t dots on the people’s faces while they were recording.

Harry would put all this ‘lion dialogue’ into the track, which the animators started animating to

We also put in a ton of sound. Harry created a whole lion library based on all these recordings that we did for the film specifically and using material he had previously recorded over many years. He created this lion library and he would put all this “lion dialogue” into the track, which the animators started animating to. It was really a cool process.

 

Mufasa_sound-03

Those lion sounds are so expressive. Can you talk about collecting and curating those sounds into a library, and editing them to make the lions feel like they’re emoting?

Harry Cohen (HC): It was a long process. We started with whatever sounds I could dig up. Then, the field recording started coming in and they continued to come in for two years. So it was constantly growing.

Mufasa_sound-04

Sound Designer Harry Cohen

I spread all the sounds out on a keyboard using a sampler. I had racks of samplers and something like three or four thousand lion sounds at my fingertips. To do that anthropomorphic sound for the lions, I would go through and find a lion sound that seemed emotively affirmative, or inquisitive, or whatever would fit the emotion of the moment. I would collect all the little bits and sew them together against the dialogue. Having them available on the keyboard was an incredible time saver. I used Native Instruments Kontakt, which allowed me to have 128 sounds per instrument, and I had multiple instruments and racks of multiple instruments.

 

Mufasa_sound-14

What about tagging the lion sounds with metadata? So, as you listened through the lion sounds, did you tag them as “happy” or “aggressive” or “sad” to make it easier to sort through them quickly?

HC: It just evolved. I was always tinkering with them, putting all of the hoot roars together, the aggressive sounds together, and the nonaggressive dialogue-type sounds together. We got a wide variety of sounds from our field recordists and I was able to find what I needed. It gradually sorted itself out.

OB: Harry was pretty quick at it. We were still getting lion adds even the day we were print mastering. I was always texting Harry, asking for lion sounds. Like, “Okay, at 590 feet, can we get a “muuurr” kind of sound?”

I would sometimes do a voice memo text to him […] and perform the lion sound that I was looking for.

I would sometimes do a voice memo text to him (which I would do for Paula too) and perform the lion sound that I was looking for. Two minutes later, he’d send something back. It was really helpful that he had made this library because just trying to randomly search for a lion sound would take a long time. I was always impressed, like, “Wow, you already sent that fix in? I thought it was going to take a little longer and I’d have to go back and put that in.”

HC: It got pretty quick. I got fairly good at it.

OB: The same with Paula. She had such a feat of making the outsider lions sound totally different and bigger – scary, but not too scary since it is technically a “kids” movie. That was challenging, especially when they were fighting together, but it sounds awesome. Paula did a great job.

Mufasa_sound-05

Sound Designer Paula Fairfield

Paula Fairfield (PF): Some of those voice memos from Onnalee were put into the lions’ mouths. She would send me a voice memo and I’d manipulate it and shove it into their mouths. So, it was exactly what she asked for. It was actually quite fun to do.

Onnalee knew exactly what she wanted. It was like big kitty ADR because they were vocalizations that conveyed a specific emotion. And since the lions were both speaking and lioning, we could walk that line between human and lion vocalizations. I played around with that a lot. And so when Onna started sending me voice memos, I started by incorporating them right into the design. I used this technique in numerous places where the vocalizations were operating as dialogue.

 

Mufasa_sound-13

Paula, tell me about your work on the outsider lions. Did you have the same lion sound resources as Harry? Or, did you have your own library, so that the outsider lions definitely sounded different?

PF: I had access to material that was being shot for the film. And I had some of my own sounds.

I didn’t work the way that Harry did. It’s fascinating to hear his approach – I think my brain just exploded a few moments ago when hearing how he did his layout. I don’t work quite that way. I’m more into layering multiple sounds and coming up with different results.

Because the outsider lions had to sound different, a little deeper, I was trying to come up with good guttural sounds that were menacing, but not too menacing. I was trying to find that happy medium.

my journey was about finding the best ways to […] make them blend and transition seamlessly in and out of speaking and singing.

And the other big challenge – Harry will probably agree with this – was that these lions were talking and also singing. In my conversations with Onna, my journey was about finding the best ways to not only make these lion sounds sound cool and different but also make them blend and transition seamlessly in and out of speaking and singing. There were moments when a vocalization was like a word of dialogue. I tried to also create these moments here and there which helped with the back-and-forth between human and lion.

Normally, when I do creatures, I don’t use any human sounds unless they’re babies. I don’t like using acting sounds. I like using primal animal sounds that are expressing pure emotion. For me, it’s not satisfying to use human sounds where actors are acting. But I did for this.

It was quite a process that went back and forth between Onna and me in terms of finding the right amount of breath – for instance, adding more air and breath into the recordings so that they would transition in and out of these speaking moments and the growls and the guttural sounds could roll in and roll out. That was a really interesting process for me because I would add in other elements to beef up the sounds.

We have this idea – and I traced it back to the MGM lion, to be honest – that lions have these big, long roars, which they generally don’t do.

In the end, the overall effect had to be that you believe these were lions and are based on our concept of what lions sound like. One of the things I found interesting about it was that in all the recordings we had (and I don’t know if Harry can speak to this too, because I’m sure his lion library was bigger than mine), it was rare to find a big, long roar. We have this idea – and I traced it back to the MGM lion, to be honest – that lions have these big, long roars, which they generally don’t do. I’m sure they’re capable of it, but most of the lion recordings we had didn’t do that. So, I was trying to find ways of expressing that. We received a lot of really good recordings for this, but the libraries that existed prior are a mishmash of stuff. And because we’re right up in their mouths, close and personal, the quality had to be really good. And so it was a dance to find good quality sounds that blended well, and that expressed what was happening on screen.

6 sound facts about Mufasa: The Lion King:

 

Q: Who did the sound design and mix for Mufasa: The Lion King?
A: The sound team on Mufasa: The Lion King, at Warner Bros. Post Production Creative Services in Burbank, was led by sound supervisor/re-recording mixer Onnalee Blank. Sound team members included (but not limited to) sound designers Harry Cohen, Paula Fairfield, Luke Gibleon, and Jay Jennings, sound effects editors Katie Halliday, Jessie Pariseau, and Benjamin Cook, field sound effects recordists Watson Wu, George Vlad, and Sebastian Dunn, effects re-recording mixer Greg P. Russell, and additional re-recording mixer Mathew Waters. (Additonal sound team members listed on IMDb)

Q: Who composed the music for Mufasa: The Lion King?
A: Dave Metzger composed the flim score for Mufasa: The Lion King. Metzger is known for his score on the Disney animated film Wish.

Q: Who handled the foley on Mufasa: The Lion King?
A: Due to the film’s long production schedule, the foley on Mufasa: The Lion King was performed by three different foley artists: Heikki Kossi, Dan O’Connell, John T. Cucci, Gary A. Hecker, and Mike Horton. Foley mixers were Jack Cucci, Tavish Grade, Jeff Gross, and Mikel Parraga-Wills.

Q: What went into the sound of the lions in Mufasa: The Lion King?
A: In Mufasa: The Lion King, Mufasa and his lion companions square off against the outsider lions led by Kiros. Director Barry Jenkins wanted the outsider lions to have a different, bigger, more threatening sound, so sound supervisor Onnalee Blank handed that task to sound designer Paula Fairfield, while sound designer Harry Cohen handled the sounds of Mufasa and his companions. Fairfield and Cohen had unique approaches and sound libraries so the two sets of lions sound distincly different. They both had access to the lion sounds recorded for the film – captured by George Vlad and Watson Wu. Fairfield and Cohen cut lion vocalizations, breaths, growls and snarls to play beside, between, and underneath lines of the actors’ dialogue to help give them a ‘lion’ feel. Blank mixed these lion vocalizations as part of the dialogue, helping them to further feel like they were coming from the lions’ mouths. The foley team performed hundreds of tracks of lion foley, like footsteps, to bring the animated lions to life on-screen.

Q: What’s the most surprising story behind the sound of Mufasa: The Lion King?
A: The main sound editors/designers on Mufasa: The Lion King spent years working on the film’s sound – some, like Onnalee Blank, Harry Cohen, and Luke Gibleon, were on the film for roughly 3 ½ years! During that time, picture changes (some influenced by their sound work) kept the sound team busy with redesigns, reworking sounds for scenes, and tailoring effects to play harmoniously with the film’s score and songs.

Q: What was one of the most challenging scenes to mix for Mufasa: The Lion King?
A: One of the most challenging scenes of Mufasa: The Lion King to mix was the end fight with Mufasa and Kiros in the cavern. Sound effects re-recording mixer Greg P. Russell had to keep the sounds of animals stampeding outside the cavern – as the animals of Melili take on the pride of outsider lions – present during the main battle between Mufasa and Kiros. The battle between Mufasa and Kiros was also challenging as the two lions are plunged under water. The underwater sound had to be translated to the lions’ vocalizations through sound design (since recording lions underwater wasn’t possible!), to the sounds of their movements underwater, and to the rocks that fell past them in the water. Tons of Doppler water sounds were created to add movement in this, and other, water scenes. Re-recording mixers Blank and Russell had the challenge of keeping the sound story-focused while also creating a feeling of chaos and tension.

I found the big, long roars to be one of the hardest things to do because there’s not a lot of room for interpretation there.

 

I found the big, long roars to be one of the hardest things to do because there’s not a lot of room for interpretation there. When I do dragons, no one can say “That’s not how a dragon sounds” because they are mythical born from the imagination. But lions are a very different thing. They had to be quite specific, quite detailed, and very believable.

During our temp mixes, Onna was mixing everything so she was going back and forth a lot of times. She sometimes had somebody working with her, but for the shorter temps, she didn’t. So she would come back to me with feedback on how stuff was blending. And we would isolate areas that needed to be worked on. It was a cool process for me. I learned a lot, sonically. I enjoyed the process of working with Onna. She gives some of the best notes that I’ve ever had in working with a supervisor – really detailed, and very specific. She has a great ear and a great vision, and I really appreciated that feedback during the process.

Also, I was influenced by what Paula did […] as far as laying sounds under the dialogue while the lions were talking.

HC: Your comments about the roars were right on. I think I had two periods where I just concentrated on constructing the roars out of the lion sounds. They were a combination of the tonal sounds and the roar. I made a whole bunch of lion roars and put the final roars in the temp, but Onnalee would come back and say, “Barry wants them bigger.” So I made them bigger. Then during the next temp, Onna said, “Barry wants them even bigger.” I had to find a way to keep making them larger and larger.

Also, I was influenced by what Paula did for the outsider lions (the white lions), as far as laying sounds under the dialogue while the lions were talking. Occasionally, Paula would have a low roar or a growl or a snarl or something that fit in with what they were saying. I took that idea and used that a little as well.

And I agree with everything Paula had to say about Onnalee; she was just marvelous.

OB: It’s nice to be on a project like this, where picture editor Joi McMillion and Barry were always working with our 5.1 stems in picture editorial.

Sometimes that was challenging because we always had to be up to most current cut, fully mixed and conformed. So, they’d say, “Hey, we need all of the new reel one, two, and three by Friday.” And it’s Thursday night. I was mixing new material as well as the music – we didn’t have a music editor on for the first two years. So not only are we mixing and sending stems back for new dialogue, but also for backgrounds, effects, lion sounds, and music.

So not only are we mixing and sending stems back for new dialogue, but also for backgrounds, effects, lion sounds, and music.

Sending all this material back and forth was very informative for me. I’d get feedback from Barry and Joi that something didn’t really work, and they were putting back some old temp stuff. At the end of the day, they were temping with our material, yet sometimes they just wanted the simpler thing. That was another aspect of being on a project that had time. It just shows in the product and the end product sounds incredible.

HC: We have succeeded in totally redefining what a temp sound should be like. Not that that’s a great thing, but there it is.

OB: There it is. Now, they’re like, “We love the way this works! Let’s do it again.” I admit it was exhausting, but if you have the time, it’s awesome because you can keep perfecting the sound for story. When we had a music editor come on, I think I almost burst into tears. I was like, “Praise the lord!”

they could change the way the lions walked, or the surface they were on, or their mouth movements – all incredibly fast.

I never had worked in animation before, and neither had Barry, Joi, or Daniel (their first assistant who’s been working with them forever.) All of us were thinking, “Man, we’re going to lock and this is going to be great.” We were so wrong. There’d be many scenes that we’d work on forever. It would be raining in the scene and the lions were walking through the rain, and then all of a sudden, they’d take out all of the rain. No more rain. It was crushing because it would take months to create all of these jungle sounds and then in the new version of the picture, it’d be bright and sunny with different bugs. It was a whole redesign.

That was interesting because they could change the way the lions walked, or the surface they were on, or their mouth movements – all incredibly fast. Anytime we’d get a new, updated picture, we didn’t get a list of changes spelling out everything that was different. We’d watch it down and be like, “Oh my gosh, everything changed. Why do the feet look weird? Oh, they changed the walk they walk.” It was ever-changing, which was a challenge yet very fun at times.

HC: Not to mention all the story changes.

PF: They could literally change anything, which is not how a normal film is. They can’t change what people are saying necessarily or take all the rain out of the scene because they decided they wanted it to be different. The palette they’re able to manipulate is basically everything and anything. And they did, honestly.

HC: They did, absolutely.

 

Mufasa_sound-06

Let’s talk about the final fight scene with Mufasa and Taka taking on the leader of the outsider lions, Kiros. Paula and Harry, how did you handle this? Did you design sounds for the lion(s) you were focused on and then Onna brought those sounds together, or did you get to hear what each other was doing before you brought it all together? What was the collaboration like here?

PF: It was a bit of both because we did go over that scene many times and it changed a few times. As we were building it, I was hearing what Harry was doing and then I was working on my thing. I just focused on the white lions, and for this fight, some of the underwater movement – trying to find a way to track their movement and have the vocal change underwater a bit while still maintaining some articulation. Unfortunately, George [Vlad] and Watson [Wu] were unable to shove lions into the water and record them, so we had to create that.

(Interested in learning more about Watson Wu’s work on the film? Check out his blog post: “Mufasa Lion King movie I worked on”)

Unfortunately, George [Vlad] and Watson [Wu] were unable to shove lions into the water and record them, so we had to create that.

They also changed visually some of the facial expressions and different actions that the lions were doing.

Both Harry and I are quite experienced in terms of building a scene and building to crescendo. So it was quite an organic process.

Since I’m out here in Palm Springs, I was nowhere near the mixing and didn’t get to see anybody during the process, but Onna’s direction – knowing what she wanted, and where she wanted something to punch – was super helpful in informing those scenes.

HC: There were specific moments when Onnalee pointed to things, like, “This needs to read through,” or, “This needs to be more aggressive.” The way I built it, I’d leave holes where Paula was going to put in her sounds and then Onna eventually orchestrated the whole thing in the mix.

There’s no judgment. Try anything, and then you can laugh if it doesn’t work.

OB: Luke had a big hand in that. He would get a lot of the material and he’d mute elements so others could read better, and he’d present that to me. It was really creative and collaborative. No one has a bad idea. Luke would say, “I’m thinking about doing this.” And I’d say, “Great. Try it.”

It made it fun. There’s no judgment. Try anything, and then you can laugh if it doesn’t work. Or, you could be pleasantly surprised. That’s what made the process fun, too.

 

Mufasa_sound-07

There were other huge sounds for this sequence, like the earthquakey sounds of the stampede, and the big boulders falling into the cave and falling into the water. Was that something Luke cut?

OB: Luke cut a lot of the earthquake elements. He did a lot of the weird animal-bys. It was a great idea to keep the sound of something happening above Mufasa and Kiros in the cave.

Luke Gibleon (LG): For many of these sequences throughout the film, there’s often a couple of us working on it, so sometimes two or three of our ideas are playing at once. It was a big process of going through and deciding that this element works well with this element, or this element is fighting so let’s take it away. Or, these two sound too similar, which one sounds the best?

OB: Sometimes Luke would say, “I think this is too much.” And I’d say, “Nah, man, we’re going to leave it.”

Mufasa_sound-08

Sound Designer Luke Gibleon

LG: It was an ever-evolving process. Then Greg Russell (effects re-recording mixer) would have to go through and do a pass for many of these sequences that are so chaotic, like this whole sequence with the earthquakes and the rocks falling and everything falling apart, as well as the flood and the stampede. There are multiple iterations from everybody, with each person making their own thing. Going through and doing passes, we were starting to clear things out and focus on the story moment by moment, choosing whose point of view we were in and how best to tell the story from that point of view at that given time.

That big process is very much where I did a lot of work – going through all of these big sequences and adding my own stuff, but at the same time, going through everyone’s stuff and trying to figure out the best way to tell the story. We were coming up with tons of different ideas. Even for the earthquake stuff, at the last minute, Barry said, “Hey, we want to create a sound for the earthquake that’s not just the earthquake sounds of rocks falling and the rumbling. We want this prophetic sound.”

OB: It’s a high-frequency sort of design that someone at the studio was really wanting. Creating that was last minute, too.

LG: That was another thing, just coming up with a sound for that on the spot. And Barry would have ideas too as we were on the stage. He’d say, “I want something that sounds like that.” And we’d figure out how to put it together. There was a lot of that going on because Barry was always coming up with ideas.

Once Barry heard the Milele idea at the beginning of the film – the work that Harry, Paula, and I did with the butterfly sounds – he loved the sound and wanted to use it in other places.

Once Barry heard the Milele idea at the beginning of the film – the work that Harry, Paula, and I did with the butterfly sounds – he loved the sound and wanted to use it in other places. So then the picture started changing so he could put more of the Melili sound in other sequences, like the dream sequences.

Going back to what Onna was saying about how the picture was constantly changing, sometimes it was changing as a result of the sound work that we were doing. It was inspiring Barry, just as much as Barry was inspiring us.

 

Mufasa_sound-09

I loved the sound of the dandelions and butterflies!

OB: It was beautiful. Barry loved that material, which was great because he never heard any of that until he got to the mix stage. A lot of other directors would have taken out all the sounds that were happening underneath the songs, but Barry loved it and wanted to use more and more of it, which was really nice.

HC: And I’ll say that Greg excelled at knowing what to leave out as well.

 

Mufasa_sound-10

The sounds worked so well with the songs! The tone and rhythm, the tuning and timing of the sounds matched perfectly with the music. It’s a testament to your sound choices and your editing chops. It’s another example of sound supporting the scene, and also the storytelling happening in the songs…

OB: All the animals and other sounds are pitched to the key of the music. It’s hard for me to listen to the song without all that material in it because everything is syncopated and it works well with the song. It’s super fun.

Luke and Harry cut all the sounds and animal sounds under the songs.

It’s incredibly important that everything is working together and in harmony.

LG: Harry came up with the animal palettes throughout the entire film. And then I did a lot of work of pitching and syncing everything to the music – to the songs especially, but also to the score. It was ever-changing.

As Onna said, there are offbeats in the music that composer Lin Manuel wrote. So, if the animals aren’t playing in harmony with the music, they’re going to get muted because it’s going to be distracting. It’s incredibly important that everything is working together and in harmony. That was definitely a process, to go through and make sure it’s all perfectly timed and pitched exactly to the music.

HC: And the music was constantly changing a little.

LG: Even on the stage, music was changing a little and we’d need to pitch this animal up a semitone, for instance, because it’s not working right now. It would be those constant adjustments throughout the entire process.

 


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


Trending right now:

  • Bicycle Sound Effects Skid and Drift Play Track 755 sounds included, 78 mins total $70

    Are you looking for skid sounds for your next action movie? Well, this sound library is made for you.

    “Skid and Drift” is the result of 4 years of recording work. It is a complete collection of skids from various vehicles, recorded from multiple perspectives, on all types of surfaces, and in high quality (dirt, dry and wet concrete, gravel, etc.).
    You will find skids from race cars recorded during the French National Drift Championship, skids from go-karts, motocross bikes, bicycles, skateboards, ice skates, rollerblades, as well as foot skids.
    These sounds were recorded in both stereo (XY and ORTF position) and mono, depending on the case, using the following microphones: Schoeps CCM4, Neumann U87, DPA4061, Lom MikroUsi. All sounds are recorded in 24-bit. The sampling frequency is 48kHz for scuffing footsteps sounds, and 96kHz and 192kHz for other recordings.

    The metadata is precise and complete. All sounds are in UCS format.

  • Environments & Ambiences Geophonic Sound Effects Play Track 98+ sounds included, 32 mins total $15

    This audio library features low-frequency drones, powerful impacts, metallic scrapes, resonant vibrations, and other rare audio textures.
    All sounds were recorded using the LOM Geofón, a device that captures low-frequency surface vibrations that conventional microphones cannot detect.

    The recordings were made with the TASCAM Portacapture X8 at 192 kHz/32 bit, ensuring maximum detail and sound quality.

    50 %
    OFF
  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $35

    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

  • Cold Weapon Sound Effects Anime Weapon Play Track 681 sounds included, 21 mins total $99

    Anime Weapon Sound Effects – 681 Stylized Sounds for Your Game!

    Bring your game to life with 681 high-quality anime weapon sound effects, carefully designed for easy implementation in any project. Whether you’re crafting an anime RPG, action-packed hack-and-slash, or futuristic mecha shooter, this sound pack delivers everything you need to create satisfying and immersive combat audio.

    Each weapon type comes with game-ready, clearly named files, making it simple to drop them into your project and features variations from light to heavy, critical, and epic, giving you full control over intensity and impact:

    🔹 Swords & Spears – Swings, swooshes, impact hits, and special skills
    🔹 Bows – String draw, arrow release, and impact sounds
    🔹 Lasers & Mecha – Power-up charges, shots, impacts, and skill effects
    🔹 Guns – Designed anime-style gunshots with skill variations


Latest releases:

  • 100+ Toys, 1500+ Designed Sounds – From Childhood Playthings to Cinematic Gold. TOYED has it all.

    EXCLUSIVE OFFER: Includes GORE 2 for free!

    For a limited time: When you buy TOYED on asoundeffect.com, you get the popular GORE 2 sound library (a $399 value) included free with your order!

    Think You Don’t Need a Library of Toys? Think Again.

    This release might just change your mind—and blow your mind at the same time! TOYED is an exclusive sound library from the Founder of SoundMorph, Jason Cushing. With a 25-year career spanning AAA games, anime, cartoons, and film, Jason has designed for Electronic Arts, BioWare, and Epic Games, contributing to titles like the Mass Effect Trilogy, Skate Trilogy, and Unreal Engine’s weapon sound design. His deep expertise in cinematic sound design, UI creation, ambient textures, and weapons makes TOYED a versatile, high-end collection of professionally crafted sounds.
    Jason’s meticulous approach to field recording and sound selection ensures that this library isn’t just about capturing toy sounds—it’s about unlocking rich, unique sonic textures that are ideal for games, film, animation, and futuristic sound design. With contributions from longtime SoundMorph sound designers Andrew Pals, Tibo Csuko, and Vincent Fliniaux (GORE 2, WATER, Robotic Lifeforms 2), TOYED is built to deliver exceptional quality and usability across multiple production styles.

    25 %
    OFF
  • Bundles Old Cars Vol. 1 Play Track 336 sounds included, 21 mins total $45

    This sound library was created after four fun and detailed recording sessions with four unique cars—three classics from the “Soviet-era” – Skoda 125L, Skoda 1203, and Skoda Favorit and a bonus BMW E38 720i. We captured a wide range of sounds, including interior and exterior props, pass-bys, reverses, approaches, and departures.

    For the driving sessions, we placed microphones in key spots—at the exhaust, engine, and inside the car—to get different perspectives. This gives you plenty of flexibility, whether you’re working on sound design for movies, video games, or anything in between.

    In total, the library includes 336 high-quality sounds, mostly recorded in 96kHz, 24-bit format. We made sure to capture various driving speeds with all the cars, so it can fit whatever scene you’re creating.

    Gear we used:
    Recorders: MixPre 6, Sony PCM A10
    Microphones: MKH 8060, CCM 8, MKH 8040, Oktava MK012 (pair), Shure SM57, Clippys EM272
    Microphone placements while driving:
    DPA 4061 – Muffler
    SM57 – Engine
    MKH 8060 + CCM 8 (Mid-side)- Interior
    22 %
    OFF
  • Processes and designed paper recordings that sound like thunder.

    60 %
    OFF
  • Elemental Palette Designed Vol. 1: Harness the raw forces of nature – infused with a sci-fi twist. This library is an expertly crafted collection of elemental ambiences and designed individual assets, drawing inspiration from metal, forest, water, minerals, and wind.

    This collection is a playground for audio designers, packed with material for attacks, UI, stingers, spell casts, environmental interactions, and more. Built from high-quality recordings, synthesis, and carefully performed Foley, every sound is designed for usability and endless creative potential. Layer them, manipulate them, or use them as they are – unleash the elements and elevate your sound design.

    Whether you’re creating immersive game audio, shaping a sci-fi world, or adding textural depth to your film or TV project, this library delivers a versatile palette of elemental sound sources.

    All sounds are delivered in 24Bit 96kHz format allowing further sonic manipulation and have been meticulously edited and tagged with extensive UCS compliant metadata for ease of use.

  • Car Sound Effects Tractor Racing Play Track 24 sounds included, 12 mins total $15

    Tractor Racing is an unique and fun sound library that was recorded during a rural “Traktoriáda” (Tractor Racing) event in the Czech Republic. Contestants brought their custom-modified tractors, motorbikes, and quad bikes to compete in an epic race. The library features a variety of sounds, including pass-bys, ambiences, approaching vehicles, and, of course, the unmistakable raw sputtering of engines.

    This unique collection offers 24 sounds recorded in 96kHz, 24-bit stereo, along with 1 multichannel ambience (6 channels). Every sound has been carefully polished in post-production to deliver the highest audio quality.

    27 %
    OFF
Need specific sound effects? Try a search below:


Mufasa_sound-11

At one point in the film, Eshe tells Mufasa, “Close your eyes and tell me what you hear.” So Mufasa does this deep listening. There are the sounds of winds, grass, animals far away, and also there is the sound of his family memory. Can you talk about your sound work for this “deep listening”?

OB: I worked with Harry on that sound for his family’s memory. I said, “He should hear something rhythmic that starts with the rock tumbling and continues down. Okay, now go be creative.”

Harry was like, “Uh, ok.” He created a sound and it changed and grew as the picture changed. I love that it stayed. I’m so glad that material is in the movie and made it to the final mix.

HC: There were quite a few moments when Onnalee would say, “Barry wants something weird here, something outside.” Those were especially challenging.

OB: I asked Harry to make a sound that was pulsing and tonal and he asked, “Is this music going to stay?” I told him probably not, and he said, “But I’m pitching it with the music?” I told him to just try something and his first attempt at it was brilliant! It was perfect. Then, as the music changed, Luke would pitch it and he would add some other elements to it. But Harry’s design was awesome.

The sound had some dreamy gazelle elements and we added little sweeteners to that and fun wind sounds.

HC: That sound I believe was made with processed animal sounds in that moment, and wind. It’s hard to remember. We’re talking about 3 ½ years of working on a film that was like working on three or four different films.

LG: The sound had some dreamy gazelle elements and we added little sweeteners to that and fun wind sounds. The rock falling through the water was a really cool sonar thing that Harry did, and then I used some Tibetan bells that had a long tone to go with it. I did some additional harmonic-based stuff off of Harry’s sonar beeps because Barry would hear this stuff and say, “I love it. I want more and I want it to be bigger.”

It was this constant building off of ideas, growing them, and making them bigger, wider, longer, and more harmonic throughout the entire process.

It was this constant building off of ideas, growing them, and making them bigger, wider, longer, and more harmonic throughout the entire process.

OB: Barry’s main thing he would say on the stage was, “You’re using all the speakers, right? Give me the VOG (voice of God) speaker. I want to hear it up there.” That was fun!

I saw Barry a couple of days ago and he said, “Man, people think the sound of the film is intense.” I told him, “It IS intense, but it’s fun though.” I’m glad people are noticing it. We worked so hard on it. We wanted it to be bold but not too bright and loud. You don’t want to hurt anyone’s ears.

HC: Most of the credit for that goes to the mixers on it, to Greg [Russell] and Onnalee.

 

Mufasa_sound-12

One scene with a lot going on sound-wise was the elephant stampede. This starts with the bees buzzing all over the place when Sarabi knocks the hive down. Then you have all the rocks and dust, the stone pillars crumbling out from under the outsider lions, and the low-frequency elements of the elephants. Can you talk about your work for this scene?

OB: Harry built background elephants, and also ‘hero’ elephants to create a sense of depth. We had to balance creating chaos with creating space. And anytime you saw the outsider lions it had to punctuate the cut, to take you to a sonically different frequency. It’s a ton of layers. Where are we going to play the elephants? Where are we going to play the rocks? We really only hear the bees at the beginning and then we get out of it. The music has to play too.

Harry built background elephants, and also ‘hero’ elephants to create a sense of depth. We had to balance creating chaos with creating space.

That was a big thing. Where are the themes? I had to listen to the music to make sure those played in the mix, taking sound effects down here and there and then putting them back up.

That scene changed a lot over the years too.

HC: I definitely cut way more stuff than I knew we were going to use, just laying all of the colors out on the palette for the mixers.

LG: It was precisely one of those sequences where it was like, “How do we tell the story of every moment at each given time?”

me, Onna, and Greg went through group by group, layer by layer, picking and choosing sounds to just manage the chaos.

It was collectively a whole lot of work going in, and once it was all in, many people – me, Onna, and Greg – went through group by group, layer by layer, picking and choosing sounds to just manage the chaos. We have chaotic moments when they need to be chaotic, but then we strip things away so we are just inside Taka’s head or Sarabi’s head at a given moment before we burst back out of it. Onna and Greg, especially, did a fantastic job of mixing all of that together because it’s only a three-minute sequence, but there’s so much that happens in those three minutes.

HC: Two weeks to cut, three minutes on screen…

OB: …and three years to perfect it. It’s going to be weird to work on another movie, like, “We don’t have three years? How am I going to get this done?”

 

Mufasa_sound-15

And Paula, you had the outsider lions in that scene – they’re running, they’re growling, and they get smooshed. They’re toast!

Anytime a lion got injured or went bye-bye, we had to find a way of minimizing it and often leaving it clear that the lion might still be ok.

PF: Except we couldn’t make them toast because of the children. We had to find fun ways to make them go away. There’s that moment when the one lion gets impaled and we went back and forth on that, coming up with telling the story but not telling the story that it got impaled. It was always about finding that balance because of the audience of children. Anytime a lion got injured or went bye-bye, we had to find a way of minimizing and often leaving it clear that the lion might still be ok.

OB: The only ‘slice’ sound in the film is when Kiros flicks his nails across Taka’s face.

LG: That was a last-minute thing. An executive on the stage said, “Ok, I’m pulling the room. Can we get a slice sound here? What does everyone think?” We made something and then sent it over to legal to get approval.

OB: We had to make sure we were in line with Disney’s criterion. So, the sound was approved; it’s in there but it’s subtle.

LG: We didn’t want it to sound metallic, because these are claws. But it’s got a cut through the mix. So one of the elements I used was an ice skate scraping across ice. That blended well with the impact. Another claw scrape that I did, which Greg softened some more, had this nice scrape sound that also didn’t sound metallic. It just sounded natural.

 

Mufasa_sound-16

The quiet moments in the film were lovely to hear, like the sound of the rain and the sound of the wind in the great tree when they get to Melili…

OB: One thing that’s great about animation is you can make that tree sound so big, even though it’s not necessarily moving. They’ve spent so much of the movie trying to get to that tree, so the sound of it needed to be elevated.

 

Mufasa_sound-17

There are a lot of water sounds in this film. In addition to the rain, Mufasa gets swept up in the flood waters, Taka and Mufasa race through the puddles, and a lot of underwater scenes like the big fight at the end. Can you tell me about your water work on the film?

OB: Harry did a ton of awesome water work. And foley did some great water, too. Water is hard because you don’t want it to be hissy or whitewater-sounding. It’s easy for things to sound bright.

HC: The main thing about water is to avoid any sound that tends to be white noisy, like the sound of waves crashing. Those just turn into white noise, and I try to avoid that all the time.

LG: There was a ton of Doppler stuff created, too, because this whole movie is in a natural environment and you want activity, you want movement. That’s how things pop out of the mix. Tons of Doppler water sounds were created, as well as Doppler rocks, Doppler winds, Doppler insects, and Doppler low-end elements for inside the water.

Tons of Doppler water sounds were created, as well as Doppler rocks, Doppler winds, Doppler insects, and Doppler low-end elements for inside the water.

In the flood, I made low-pitch diving up and down elements as the animals were going up and down in the water. We had them in transition sounds, too. Tons of natural-sounding activity-bys were created to keep things interesting and keep the environment alive so could feel the action, and feel things moving. The dynamics in the sound design come from the natural world – from animals and nature.

HC: I think I cut that flood scene at least three times through the course of the film.

OB: I think you cut that scene more than three times, Harry. We’d get new picture and send it over, and I’d tell Harry to call me once he’s looked at it. He’s like, “It’s a whole redesign.”

Barry and Joi didn’t want this to feel scary. They want it to feel like a ride. So, even though the images are scary and they’re yelling, we have to make the sound and the scene about movement – hit scary moments but not make them too scary. No animals are shrieking, trying to get out of the water. We had to be very mindful of that.

HC: I originally cut animals shrieking while trying to get out of the water.

OB: Originally, Barry wanted that. But once he heard it, he knew that it was too scary.

 

Mufasa_sound-18

I love the sonic contrast between the plains/jungle with all the bugs – it’s so rich with life in the BGs – and the stark, snowy mountain. So when you got to the mountain scenes, was this a bit of a break for you in terms of sound work?

So many of the birds and bug sounds are individual birds and bugs cut layer after layer.

LG: Barry loves constant activity in the atmospheres. So even in the snowy mountains, there’s a lot of activity. Onna, Jessie Pariseau (sound effects editor), and Jay Jennings did a ton of great background activity. It’s constantly moving. So many of the birds and bug sounds are individual birds and bugs cut layer after layer. It’s not big beds, necessarily.

OB: There’s even a lot of lion snarl sounds that were blended in with the wind to create a vibe when the outsider lions are there. It’s not overt, but it creates a low-frequency texture.

PF: One thing we did early on was pitch and stretch the lion sounds so you feel their presence. It had to feel dark and menacing, but not too much.

I took a bunch of those different lion lines/utterances and stretched them out to create an atmosphere that could sit in with and color the wind and the snow.

I took a bunch of those different lion lines/utterances and stretched them out to create an atmosphere that could sit in with and color the wind and the snow. So when you’re in their territory, you feel the change a little bit. And, because it is sparser on the mountain than down below, it was an opportunity to create a cool and very different vibe. There’s more air up in the mountains, more room to fiddle around with that.

OB: The snow stuff is my favorite in the movie. It’s something you normally don’t picture – lions and snow. Sonically, it was fun to play a totally different soundscape.

The wind sounds all have movement, and they’re not just whistly winds because that gets into the cheese factor really quick.

PF: And it gets monotonous because there were very long sequences up there.

 

Mufasa_sound-19

What’s stuck with you the most from your experience of creating/mixing sound on Mufasa: The Lion King? Is there anything that changed the way you feel about how sound is used for film?
Or did you learn anything technique-wise that you would carry forward into another film?

OB: One thing I learned is that originally when we were doing all the lion sounds, we had one stem for all that material. I remember after one temp mix, I thought, “I should split out the roars from the lion non-roars.”

I remember after one temp mix, I thought, ‘I should split out the roars from the lion non-roars.’

I loved doing that because we put that on the dialogue side and I mixed it more like dialogue. I thought it fit better into their mouths. Especially for sync purposes, it required a different approach than mixing them as effects. That was interesting. That was a learning process for me. So if I ever do another animal animation movie I would probably have that same approach, and get to that decision much quicker than thinking about it for 6 months.

HC: I was glad you did that because we actually hear the stuff.

OB: Yeah, you don’t just play it down and have it be stereo and more wide. It was nice that it had the same reverb and same compression as dialogue. It certainly took some effort to split it out once we decided to do this – it took weeks to do.

It was nice that it had the same reverb and same compression as dialogue.

Also, sometimes when Harry would send adds, I had to decide which lion sounds went to the effects side and which went to the dialogue side. Sometimes the effects mixer, Greg, would be like, “Wait, you have it over on your side.” And I’m like, “Yeah, I do.” He’d say, “It’s too loud.” And I’m like, “No, it’s not.” But it was fun!

Also, a big learning process was all the backgrounds. Greg [Russell] said, “Never in my life of working on so many movies have I had this many background groupers in a movie.” And he’s been doing this a long time. So that was actually fun to hear, yet it made me think, “Is that a bad thing?” But having a lot of splits of certain material is very helpful for getting a more immersive sound.

HC: Thank goodness that Pro Tools has allowed me to open such a large session as the template that you were using. After the initial round of cutting, I had to cut everything within the template, which slowed me down, but it made it easier to balance and much easier for you to incorporate the stuff in your mix.

LG: Whenever I get to work with talented people such as Harry, Paula, Onna, Jay, and Greg, I get to see everybody’s work, to see their unique approach. It’s interesting.

Sitting behind Greg as he’s mixing is informative. He’s often talking, narrating along for some of the stuff he’s doing, and just sharing tips and pointers.

Sitting behind Greg as he’s mixing is informative. He’s often talking, narrating along for some of the stuff he’s doing, and just sharing tips and pointers. That’s interesting. That’s what’s so wonderful about these movies, especially when you have time. And this was a rare movie that had that kind of time that allowed everybody to experiment. I got to play with toys I hadn’t gotten to play with before. And as a result, you’re just constantly making things better, constantly improving, learning new things, learning from everybody else. It just makes the whole process a lot of fun, but it also makes the product much better and the storytelling happens at a really high level.

PF: For me, I’m an effects designer. I’m not a dialogue person and there’s a reason for that. I have such respect for Onna and everybody who works with that because it’s about precision and the voice. Me, I’m like Little Miss Wild over here doing my thing. So from the first tracks I did to the end, I had to really learn to control more because my sounds are butting right up against dialogue. That was a really interesting process for me when I think about where it started to where it ended up.

I learned from Onna, with her guidance, an insane amount about honing and controlling sound a bit more because it had to mush in and out of dialogue

I learned from Onna, with her guidance, an insane amount about honing and controlling sound a bit more because it had to mush in and out of dialogue – and sometimes was in behind a word. So I couldn’t be my usual crazy self. I’m self-taught, I work alone, and I haven’t been mentored, so I learned by trial and error and experience. Having the time on this to go back and forth, to hone and craft, to sculpt and figure things out using techniques that I had never used before, is something I really appreciate.

I’m usually left to my own devices to be as wild and crazy as I can be but this took a lot more precision than I’m used to. I know that for anything I do after this, I have a new bag of tricks that I can pull from. I learned so much just working with Onna and having her feedback on working up against dialogue. It was a really valuable, a wonderful experience for me.

And it was wonderful to have the time to explore, to take things apart, put them back together, and find different tools. That was absolutely invaluable to me. I can’t thank Onna enough for bringing me along on the ride. It was wonderful.

HC: I learned lots of patience. I also learned a lot in my research about all of the different animals that I never even knew existed – like an oryx, or gemsbok – all of these creatures. I also got more proficient at using samplers as a time saver in this process.

 

A big thanks to Onnalee Blank, Harry Cohen, Paula Fairfield, and Luke Gibleon for giving us a behind-the-scenes look at the sound of Mufasa: The Lion King and to Jennifer Walden 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:

  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $35

    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

  • Environments & Ambiences Geophonic Sound Effects Play Track 98+ sounds included, 32 mins total $15

    This audio library features low-frequency drones, powerful impacts, metallic scrapes, resonant vibrations, and other rare audio textures.
    All sounds were recorded using the LOM Geofón, a device that captures low-frequency surface vibrations that conventional microphones cannot detect.

    The recordings were made with the TASCAM Portacapture X8 at 192 kHz/32 bit, ensuring maximum detail and sound quality.

    50 %
    OFF
  • Forged in Fury Vol. 1: Modular Sounds for Epic Combat

    Break down, customize, and master every detail of your combat effects with Forged in Fury Vol. 1, a collection of 394 brutal sounds in 192kHz/24. Includes katana, heavy axe, metal claws, and layer-by-layer edited vocals for total control.

    🔪 Katana (193 sounds):
    Double whooshes, precise slashes, impacts, blood splatters.
    Mix layers of edge and secondary effects (e.g. combine a quick whoosh with a feminine scream).

    🪓 Heavy Axe (96 sounds):
    Powerful whooshes, crushing blows, equip sounds, blood effects.
    Combine the roar of metal with the sounds of breaking bones.

    🔗 Metal Claws (37 sounds):
    Mechanical opening/closing, scratching, cutting whoosh.
    Ideal for fast movements and surprise attacks.

    🗣️ Male & Female Voices (68 Sounds):
    War cries, moans of pain, grunts of effort.
    Use them alone or synced with weapon effects.

    ✨ Key Feature:
    Each sound includes its own editable layers (e.g. whoosh + impact + blood). Do you want a bloodless ax swing? only the whoosh of a katana?, only blood? Modify it instantly.

    🎚️ Studio Quality:
    Recorded in 192kHz/24-32 bits, delivered in 192kHz/24 bits. Perfect for toning down, adding distortion or manipulating without losing clarity.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding katana, heavy ax and claw [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 other than the one described, remember that the world of sound is totally subjective.

    24 %
    OFF
Explore the full, unique collection here

Latest sound effects libraries:
 
  • 100+ Toys, 1500+ Designed Sounds – From Childhood Playthings to Cinematic Gold. TOYED has it all.

    EXCLUSIVE OFFER: Includes GORE 2 for free!

    For a limited time: When you buy TOYED on asoundeffect.com, you get the popular GORE 2 sound library (a $399 value) included free with your order!

    Think You Don’t Need a Library of Toys? Think Again.

    This release might just change your mind—and blow your mind at the same time! TOYED is an exclusive sound library from the Founder of SoundMorph, Jason Cushing. With a 25-year career spanning AAA games, anime, cartoons, and film, Jason has designed for Electronic Arts, BioWare, and Epic Games, contributing to titles like the Mass Effect Trilogy, Skate Trilogy, and Unreal Engine’s weapon sound design. His deep expertise in cinematic sound design, UI creation, ambient textures, and weapons makes TOYED a versatile, high-end collection of professionally crafted sounds.
    Jason’s meticulous approach to field recording and sound selection ensures that this library isn’t just about capturing toy sounds—it’s about unlocking rich, unique sonic textures that are ideal for games, film, animation, and futuristic sound design. With contributions from longtime SoundMorph sound designers Andrew Pals, Tibo Csuko, and Vincent Fliniaux (GORE 2, WATER, Robotic Lifeforms 2), TOYED is built to deliver exceptional quality and usability across multiple production styles.

    25 %
    OFF
  • Bundles Old Cars Vol. 1 Play Track 336 sounds included, 21 mins total $45

    This sound library was created after four fun and detailed recording sessions with four unique cars—three classics from the “Soviet-era” – Skoda 125L, Skoda 1203, and Skoda Favorit and a bonus BMW E38 720i. We captured a wide range of sounds, including interior and exterior props, pass-bys, reverses, approaches, and departures.

    For the driving sessions, we placed microphones in key spots—at the exhaust, engine, and inside the car—to get different perspectives. This gives you plenty of flexibility, whether you’re working on sound design for movies, video games, or anything in between.

    In total, the library includes 336 high-quality sounds, mostly recorded in 96kHz, 24-bit format. We made sure to capture various driving speeds with all the cars, so it can fit whatever scene you’re creating.

    Gear we used:
    Recorders: MixPre 6, Sony PCM A10
    Microphones: MKH 8060, CCM 8, MKH 8040, Oktava MK012 (pair), Shure SM57, Clippys EM272
    Microphone placements while driving:
    DPA 4061 – Muffler
    SM57 – Engine
    MKH 8060 + CCM 8 (Mid-side)- Interior
    22 %
    OFF
  • Processes and designed paper recordings that sound like thunder.

    60 %
    OFF
  • Elemental Palette Designed Vol. 1: Harness the raw forces of nature – infused with a sci-fi twist. This library is an expertly crafted collection of elemental ambiences and designed individual assets, drawing inspiration from metal, forest, water, minerals, and wind.

    This collection is a playground for audio designers, packed with material for attacks, UI, stingers, spell casts, environmental interactions, and more. Built from high-quality recordings, synthesis, and carefully performed Foley, every sound is designed for usability and endless creative potential. Layer them, manipulate them, or use them as they are – unleash the elements and elevate your sound design.

    Whether you’re creating immersive game audio, shaping a sci-fi world, or adding textural depth to your film or TV project, this library delivers a versatile palette of elemental sound sources.

    All sounds are delivered in 24Bit 96kHz format allowing further sonic manipulation and have been meticulously edited and tagged with extensive UCS compliant metadata for ease of use.

  • Car Sound Effects Tractor Racing Play Track 24 sounds included, 12 mins total $15

    Tractor Racing is an unique and fun sound library that was recorded during a rural “Traktoriáda” (Tractor Racing) event in the Czech Republic. Contestants brought their custom-modified tractors, motorbikes, and quad bikes to compete in an epic race. The library features a variety of sounds, including pass-bys, ambiences, approaching vehicles, and, of course, the unmistakable raw sputtering of engines.

    This unique collection offers 24 sounds recorded in 96kHz, 24-bit stereo, along with 1 multichannel ambience (6 channels). Every sound has been carefully polished in post-production to deliver the highest audio quality.

    27 %
    OFF

   

Leave a Reply

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

HTML tags are not allowed.