Asbjoern Andersen


How do you record and design great winter sounds effects? And how do you make them shine in your project, once you’ve recorded them?

That was the challenge Max Lachmann and the team at Pole Position Production faced when they were brought in to create the sound for SNOW, an open-world, free-to-play winter sports game from indie studio Poppermost Productions.

Here is Max with tips, tricks and insights on how they recorded, tweaked and implemented the brilliant winter sound effects you hear in SNOW. But first, a short introductory video:

 



SNOW - Recording Audio for the Game


Max Lachmann on making the sound for SNOW:


In SNOW players can ride down massive mountains exploring the vast environment or spend time in the terrain parks practicing rail and air tricks – and the sound had to be just right.

When Alexander Bergendahl, Poppermost’s CEO initially asked me if I was interested in helping out with the audio bits, I was really excited! Having done mostly vehicles before in my company Pole Position Production, this was a nice challenge, and a possibility for us to get into a wider range of games. At this point there was no budget, but I still decided to put some efforts into it to see what I could do to help Poppermost out. Alexander promised that when there was a budget I would get paid later on. Ever heard that before? Did it ever happen? Well, Alexander sure stood up to his promise!
 

What’s out there?

So, my first thing to do was to start looking through the libraries I had at hand, realising there was literally nothing I could use from them. No clean skiing sounds, no clean ski resort ambiences without loud voices, really nothing at all.
To get at least something to start to work with, I sent my girlfriend, who is a decent skier unlike myself, out the local slopes with my Olympus LS-5. I got that in the game, along with some foley I did, but the initial feedback from the Poppermost guys was clear. It sounded too icey.

The initial feedback from the Poppermost guys was clear. It sounded too icey. But this was actually a really good start

But this was actually a really good start. It made me realise how serious they are about what they are doing, and they know what they are talking about. So during my spare time, I kept supplying them with a few sounds now and then, created from what I had.

Eventually, Alexander called me and asked if we could have a meeting. It turned out he had finally got some financing for the project, and they wanted to do some proper sound recording. So we had a budget set up that covered something like eight days of recording, and about a month of sound design and implementation. This is quite something for a small indie developer, to show that level of dedication for the project’s audio, and I am very proud that I got to do it for them. At this time I also brought in my colleagues Bernard Löhr and Mats Lundgren from Pole to help out.

 

Another day at the office

Another day at the office

The art of indoor skiing

Together with Alexander, we made a long list of sounds that were needed. It covered everything from player foley to surface sounds, rails of different materials, ski lifts of different kinds, ambiences, voice over, UI and much more. We eventually evaluated and updated this list, since it was created in such an early phase of the development.

With this list in mind, we planned the first recording sessions. First out was a foley session in the studio. Bernard, who is a very experienced skier, brought his skiing equipment and we rigged him with microphones. A couple of DPA4061s on his helmet, a pair of Schoeps CMC6 from the sides, and probably a few other mics, all recorded in Pro Tools.

We created over a dozen sounds during the session including clothes rustling, ski poles hitting each other, ski boots creaking, bindings clicking and much more. The sounds from the clothes was the most useful from this session, all the other sounds turned out sounding out of context, and we realised we had to record them outdoors to give them the proper feel.

Spin-off: A unique winter sound effects library
 
  • Environments & Ambiences Snow and Ice Textures Play Track 548+ sounds included, 295 mins total $199

    A must-have collection for winter sounds, this library consists of many years' recordings of snow and ice, skiing, textures, ambiences, foley and so on. It contains lots of skiing, jumping, rails, freezing cold winds, ski resort ambiences, lifts, walking in snow and on ice, texture details such as snow spray, tires driving, skidding and spinning on ice and snow, drilling in ice and much more.

The guys at Pole Position Production compiled a huge amount of winter sound effects – from this project and others – to create an outstanding winter SFX library. It features lots of snow and ice + unique skiing and other winter sports sounds.
 

Rigged from head to toe

The next session was at a ski resort up north. Mats and I started out doing some more foley stuff on the night of the arrival, tumbling in snow, jumping through bushes, banging skis into various things, planting poles in the snow and much more. We used our Neumann RSM191 shotgun and also our two Schoeps, and recorded onto our Sound Devices 702. The next day we started our work with the surface and skiing sounds. Since neither of us had done anything similar before, besides my initial testing with a handheld recording device, it was all about trial and error.

So we rigged Bernard from head to toe. Two DPA4061s on the helmet, a Crown PZM on the top of each ski, two more DPAs on the boots, and a Neumann RSM191 taped to his backpack, like we do with motorcycles. He also carried a Zaxcom Fusion eight track recorder in the backpack.

So finally, we had Bernard going on his own with just the RSM, and a crowd of people staring at him

Listening back to the first runs we quickly realised this was not the route to go. So our next try was with Mats going beside Bernard with the Neumann RSM191. This gave a much more natural and smooth sounding result.
So finally, we had Bernard going on his own with just the RSM, and a of crowd people staring at him. While Mats and Bernard were in the slopes, I walked around with our Schoeps doing ambience recordings, recording lifts, and skiers passing by in the slopes.
 

A helping hand from Kläppen

After going back to the studio and evaluating the result of the first skiing session, the second session was more thoroughly planned. Poppermost got us set up at the ski resort Kläppen in Sälen, Sweden. Besides nice slopes, they also have an amazing terrain park with all kinds of rails and jumps. The Kläppen staff was extremely nice and helpful. They shut down music for us when recording, they took us up the mountains on snowmobiles after the lifts closed, to record wind and ambiences without disturbances. They let us into the main lift engine building and even started and stopped it for us despite all the people on it.

Poppermost had also arranged with a student, MÃ¥ns, from a skiing high school nearby, and he and his friends performed all kinds of jumps and tricks for us. So besides some more regular skiing performed by Bernard, again with a handheld RSM191 and a Sound Devices 702, we also got all kinds of amazing stuff. We mounted DPA4061s on the rails, and followed the skiers with both the RSM191, a Telinga dish with a Sennheiser MKH8020 and a Sennheiser MKH8060 and recorded this on our Sound Devices 788.
We worked our way through regular jumps and rails of different materials, and ended the day with recording a bunch of rough stops.

One of the things that amazed me the most was the natural swooshes you could hear when the skiers flew over your head

One of the things that amazed me the most was the natural swooshes you could hear when the skiers flew over your head. All the swooshes in the film about the audio recordings for SNOW are the real deal.

From this trip we got back with a big bulk of useful sounds, such as the sound you get when you fly off a jump and all the rails, not to mention the winds and lift sounds. The noise from the lifts are a bit of a problem when you record in a ski resort, since the sharp tone they make can be heard all over. On the positive side, it’s very constant and most of it can be removed with a hard set eq.


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


Trending right now:

  • Cinematic & Trailer Sound Effects Abandoned Oil Tank Play Track 327 sounds included $40

    On a recording trip to the smaller Danish port town Struer, I came across an abandoned empty oil tank. Inside I found two giant wires attached to the floor and the ceiling of the tank, almost like a huge 2 stringed double bass. I’m telling you the reverb in there was longer than the Eiffel Tower on a cloudless day !

    On the outside this was just an empty abandoned building, but it turned out it was not empty at all because it was full of sound and a few dead birds. I’m glad I was curious enough to go inside for a closer investigation and not just pass by.

    After several hours of concentrated recording, it was nice to get my ears back out in dry air. I’m happy there are no open sends to Valhalla in real life but experiencing the eternal resonance on the low frequencies from the wires was absolutely amazing.

    Abandoned Oil Tank was recorded with a LOM basic Ucho stereo pair, a Zoom H6 and the LOM Geofon. All files are in 96 kHz/24 bit and contain the original recordings.

    The result is a unique sound effect library including balloon pop impulse responses from a truly unique location that very recently became even more unique since word says that the oil tank is no more and has abandoned this world.

    327 individual sounds – all tagged with Universal Category System (UCS) metadata.

    www.katrineamsler.com

    20 %
    OFF
    Ends 1713131999
  • Electricity Sound Effects Polarity Play Track 975 sounds included $72

    Polarity delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs. About 50% of the library is all about electricity, with various types of Jacob’s Ladders, Tesla Coils, Ruhmkorff lamp and all sorts of impactful bursts of energy.

    Then we go through welders, plasma spheres, 3D printers, starting to cover a more broad technology theme – like old phones, telegraphs, dynamo wheels, rotary dials, whirling watchers, alarm, lab centrifuges, something scientists call a roller and a rocker, servo sounds, neon lights, a wimshurst machine and sparklers.

    Many sounds in this section were captured from vintage equipment, from a 1928’s tram to old telephone switchboards, high voltage levers and control surfaces.

    All content was recorded at 192KHz with a Sanken CO100K, a couple of Sennheiser 8040 and a Neumann 81i, translating into final assets that have plenty of ultrasonic content, ready for the most extreme manipulation.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
    20 %
    OFF
  • Trench Rammers is a one-of-a-kind sound library, created by sound designer Barney Oram. It features recordings of two 20th century Trench Rammers, some of the last operating machines of their kind in the world. The library features 48 files in total, capturing the Trench Rammers using a variety of microphones and perspectives, supplied in 192kHz 24bit WAV file format.

    This library contains multiple recordings of two antique Trench Rammers, the Pegson ER5 and the Warsop Benjo, and also features additional recordings of four antique stationary engines, the Amanco Hired Man (1920s), the JAP 1947, the Lister D (1940s) and the Norman T3000.

    Recorded in Leeds, UK, this library features multi-mic coverage and a range of distance positions captured on all included source content. Microphones used include; Sanken, Sennheiser, Neumann and DPA, captured with Sound Devices and Tascam recorders.

    This library includes detailed SoundMiner metadata and utilizes the UCS system for ease of integration into your library.

    Behind the Scenes Video:


    Trench Rammer


  • Kawaii UI Trailer

Latest releases:

  • Trench Rammers is a one-of-a-kind sound library, created by sound designer Barney Oram. It features recordings of two 20th century Trench Rammers, some of the last operating machines of their kind in the world. The library features 48 files in total, capturing the Trench Rammers using a variety of microphones and perspectives, supplied in 192kHz 24bit WAV file format.

    This library contains multiple recordings of two antique Trench Rammers, the Pegson ER5 and the Warsop Benjo, and also features additional recordings of four antique stationary engines, the Amanco Hired Man (1920s), the JAP 1947, the Lister D (1940s) and the Norman T3000.

    Recorded in Leeds, UK, this library features multi-mic coverage and a range of distance positions captured on all included source content. Microphones used include; Sanken, Sennheiser, Neumann and DPA, captured with Sound Devices and Tascam recorders.

    This library includes detailed SoundMiner metadata and utilizes the UCS system for ease of integration into your library.

    Behind the Scenes Video:


    Trench Rammer


  • The cozy natural rhythms of hums, scrapes, splashes and thuds soundtrack the pottery workshop where the earth meets art. Find the true sound of it with Vadi Sound Library.

     

    About Pottery Workshop

     

    84 sounds that are clean, subtle and capture pretty much every object and action of the magic of fire and earth.

    From the rhythmic hum of the spinning potter’s wheel, to the splash of water, the scrape of clay with the tools shaping and smoothing surfaces, listen up for the symphony of creation.

    You will hear the tapping and thud of ceramic pottery, wooden ribs, wire cutters, loop tools, and sponges, all kinds of rummage, and mud actions on the potter’s wheel. The clicking and whirring of mechanisms during firing cycles add a mechanical counterpoint to the workshop’s natural rhythms.

    You will get variations of sounds in different proximity, size, and style of action. This collection is handy due to the clarity and diversity of the raw sounds. They have both Foley and practical usability and room for further sound design.

    You will get intuitive, detailed naming, UCS compatibility and the usual Vadi Sound craft and attention to detail in 84 pristine sounds. Recorded in 24bit-96kHz.WAV format on our favorite Sennheiser MKH 8040 stereo pair and Zoom F6.

     

    Keywords

    Pottery, workshop, electric potter’s wheel, wheel, oven, heat gun, mud, clay, ceramic, glass, wooden, metal, cup, handle, push, pull, move, remove, shape, tap, shake, clank, level, lid, tool, organizer, toolbox, rummage, fiberboard, button, bucket, sponge, plate, Dremel.

     

    What else you may need

    You may also want to check out Drag & Slide for 477 sound files of dragging, sliding, scraping and friction sounds of different objects made of wood, plastic, metal on various surfaces. Our bestseller Crafting & Survival is another good choice to get access to 1000+ survival, gathering, movement and crafting sounds.

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

  • Introducing Devils Bane Trailer, a chilling symphony of horror encapsulated in 533 meticulously crafted sound files, ready to unleash terror upon your audience. Dive into a nightmare realm where every creak, whisper, and shriek is meticulously designed to send shivers down your spine.

    • 533 files
    • 3.5 GB of game audio assets
    • All in 96k 24bit .wav
    • Dark Horror Movie Trailer Sound Effects Library
    17 %
    OFF
  • Birdsong from the countryside of the Swedish rural region of Värmland.

Need specific sound effects? Try a search below:


Getting the ground right

At this point we realised that the actual ground material sounds would be a bit of a problem. We have had pretty much the same weather conditions on both our trips, which was about freezing degrees or slightly less, wind and even rain. So our chances of capturing all of the different materials needed, powder, ice, piste and wind-packed snow were not very good.

Most of what we had recorded so far had a good but a somewhat similar texture. So getting these sounds right took a bit of sound design from Mats, and some iteration after feedback from Poppermost. Mats had to take on different approaches depending on what sound he was going for. We had plenty of source material riding over soft snow and piste. Many times it was all about finding parts of the recordings where there were long enough sequences to be able to create a loopable sample. He used equalisation a lot for controlling the high frequencies, but there wasn’t that much fixing really.

He took these rather short fragments and put them randomly so that they would overlap each other, creating the effect of skis going over packed ice

For icy surfaces it was a little trickier since there were no actual recordings of that. However, from my very early attempts I had recorded some ice-surfaces and Mats was able to use that. What he did was that he took these rather short fragments and put them randomly so that they would overlap each other, creating the effect of skis going over packed ice.
He did also blend in some white noise into it to even out the sound a little bit. This way of overlapping short bits of audio is also how he created the ski-turning sounds.

The most difficult sound to create was that of turning on powder because we had no recording of really soft snow at all, especially not spraying soft snow. So we ended up using some kind of soft plastic foam that sounded like spraying snow when it expanded after being squeezed.
 

Time for adjustments

The equalizer was the main tool for controlling the interrelation between different surfaces so that they would be perceived as different from each other. For softer surfaces we applied darker eq; for harder surfaces brighter. It took some trial and error to get that right. To control the levels Mats used the Precision Limiter from UAD. He also used Waves Linear Broadband Eq to take out some ugly high frequencies when necessary.

Finally, on top of this I did some additional recordings on a family skiing vacation. I focused on some more skiing, this time with a handheld Sennheiser MKH8060, and some ambiences with a pair of Sennheiser MKH8040s into a Sound Devices 702.

It didn’t take long before the rumours about the weird guy with fluffy things went around the resort again…

Most of the ambiences we had gotten before had people skiing in them, which would sound awkward in the game where the player is usually the only person in sight, so I needed more ambiences but without other people in them.
I also recorded some lift pylons, to get the sound you hear as the lifts pass them. It didn’t take long before the rumours about the weird guy with fluffy things went around the resort again…
 

Getting the sounds in the game

Once we started getting sounds into the game, Poppermost came up with a bunch of references on how they wanted it to sound. So for the player experience we started with speed wind, clothes rustling in the wind and the actual surface sounds, going straight, turning and stopping.

Using Fmod we set up parameters for player speed, wind speed, turning speed and more. We added ambience winds, poles placed in the ground, jump and landing sounds and so on.

We made sure the different camera angles captured the differences in distances. We added a small jump sound that plays as you leave the edge of the jump, a sound that was clearly prominent in our recordings. For the railing part, we have one sound playing when landing on the rail, and then I created looping sounds using The Mangler, a great granular synthesis tool. This is still work in progress, with plenty of work remaining such as adding detail sound effects like snow spray, swooshes, clothes moving sounds among other things.

We would never have been able to reach the level of authenticity in the game without Poppermost’s determination and dedication, spending the money on recording the real thing. Nothing beats original source material when it comes to sound design, and once you have the bulk recorded, your bought libraries are a great resource to add that little extra to the final design.

It was also a good lesson to learn that from all the eight tracks we recorded in our first attempts, with a mindset similar to our vehicle recordings, it turned out to be too detailed and that a simple handheld shotgun microphone was the best way to create a soundscape similar to what a skier experiences.

 

Please share this:


 

About Max Lachmann
Max Lachmann is a field recordist and sound designer from Stockholm, Sweden. He is co-founder of audio outsourcing company Pole Position Production, famous for vehicle recordings, which has provided several titles such as War Thunder, Need For Speed and Just Cause 2 with recordings, sound design and music.

Check out the Pole Position Production website, and meet the team on Twitter here.

 


 
   

NEED OUTSTANDING SOUND EFFECTS?
 
A Sound Effect features the world’s largest collection of independent sound effects
– a few wintry highlights
:

 
  • City Life Sound Effects Ambiences from Poland Play Track 61 sounds included, 160 mins total $49.99

    Ambiences from Poland is a collection of sounds recorded over winter in two major cities in Poland – Poznan and Warsaw (the capital). This library is very close to my heart, as Poland is where I was born and grew up, so I hope you enjoy it! Poznan and Warsaw are full of unusual sounds created by old and modern electric trams that are very popular amongst locals and visitors. Pay specific attention as old trams generate heavy rumbles, cracks and squeaks while modern trams generate futuristic soundscapes when they move. Apart from that, you will have a chance to immerse yourself in Polish urban environments, public places such as schools, churches, shopping centres and some residential areas.

    This expansive library is compliant with the Universal Category System (UCS) and it is recorded at high quality – 192kHz, 24bit.

  • Rain & Thunders is a small collection of ambisonic recordings performed at various locations in the countryside.

    39 unique recordings, Including 11 isolated thunder samples.

    To create this sound package, a costume rain protection rig was built, and a Sennheizer Ambeo microphone paired with Zoom H8n was used.

     

    This collection is great for post-production, VR/AR experiences, game developers, and any real-time 3D audio engine.

    All files are tagged and categorized for your convenience – supporting tag-filtering browsing applications.

     

    Sen6 Rain&Thunder

    This package includes 39 Samples – A total of 25 minutes of content. 

    Supported formats: First Order AmbiX B-Format and Stereo (Total of 78 files).

     

     



  • Environments & Ambiences Arctic Water Play Track 50 sounds included, 111 mins total $39

    Extensive collection of arctic water in different seasons. The sound effect library includes mountain brooks, creeks, a waterfall, a river, rapids, floods and more. Some other elements consist of streams flowing under the snow and blockfields/rocks. Included are also water dripping from an icicle onto the snow, and one track with rain from the Arctic Wind sound effect library. Recorded in Lapland, Finland.

    Gear used:
    Sennheiser MKH 8040, MixPre-6 II, Sony PCM-D100

  • Winter Sound Effects Arctic Wind Play Track 19 sounds included, 78 mins total $39

    Extensive collection of arctic wind in different seasons. Sound effect library includes chilly winter wind, rapid wind gusts of spring, summer breeze with birds and insects, and massive wind roaring of autumn. Some other elements in these ambiences consist of trees creaking and cracking, needles and leaves, snow shifting with the wind, and rain. Locations include fell/mountain, forest, pine barrens, bog, lake, pond, and even inside kota or wooden Sami hut. Recorded in Lapland, Finland.

    Gear used:
    Sennheiser MKH 8040, MixPre-6 II

  • NSL – ATMOS Vol.1 is a 40 Files Sound-Pack composed of Backgrounds Sounds made to be used in Dolby Atmos Format. You will have access to many samples: Forests, Rivers, Airfields, Alpine Mountains, Winds, and many more sounds…

    30 %
    OFF
    Ends 1714428000
  • Sports Sound Effects Bobsleighs and Skeleton Play Track 82 sounds included, 24 mins total $29

    Bob Skeleton library delivers exciting action sounds of  Two Men Bob and Skeleton heroes that go down the track with more than 100 kilometers/hour.

    The sounds of this library were taken from 9 spots along a track in Altenberg in the south of Germany. Each take is sorted and meta-tagged by recording spot and with this content you are able to assemble a complete run from start to finish or even to extend it by easily combining start sceneries, energetic passes in different speeds and noisy brakings down in the valley.

    Furthermore Bob Skeleton´s content is an inspiring resource for sound mangling experiments and artificial foley design.

  • Out of ice? Please help yourself. Find the true sound of it with Vadi Sound Library.

    About Breaking Ice

    This cinematic ice sound effects bring you 103 files and 250+ sounds – in both basic organic and designed formats.

    You will get different types of ice cracking, squeaking, and creaking that you need for your related projects and room for further sound design with the flexible texture of the sounds for customization.

    Performances include single or multiple crashing, smashing, shattering, debris movements, falling on different surfaces, rolling, stabbing with different tools, tiny-medium-large ice breaking, sweeping through, scatters and more. Breaking ice can level up your projects with fresh high quality sound effects with variety and quality of recording. And the usual Vadi Sound craft and attention to detail!

    All sounds are in mono and stereo 24bit/96 KHz Wav format and they are just great for Foley, film, video, game, advertisement and music.

    Breaking ice can level up your projects with fresh high quality sound effects with variety and quality of recording and the usual Vadi Sound craft and attention to detail!

    Keywords including Actions, Parts, Equipment and Style
    Ice, crash, friction, debris, snow, carving, cube, piece, rolling, breaking, hammer, melted, dropping, rubbing, crashing, crush, block, handsaw, falling, spatula, shatter, rolling, hitting, chisel, metal, wooden, cleaver, floor, small, wet, dry, little, medium, large, short, deep, pocket knife, scraping, metal, spatula, handsaw, half, concrete, sweeping through, tension, glacier, smashing, cinematic.

    What else you may need
    You may also want to check out our Crafting & Survival SFX Pack for access to 1000+ sounds of drawers, electricity, fire, tactical and sports equipment, explosions, cloth, weapons, food and drink, glass, gore, mechanical gear, lots of metal impacts and movements on different surfaces, paper and other objects, robot, rifle and guns, rope and other vital tools, vegetation, vehicles, other weaponry, whoosh, wood, bags, doors, chains, destruction.

  • Christmas time. The time of the year everybody calms down and settles. The period is also dominated by a lot of festivities, shopping and winter actions.
    To bring you the christmas cheer, this library includes a broad variety of musical instruments, city ambiences, foleys and ready to use scenes.
    Merry christmas!

  • Flysound presents, for the holiday season, a joyful, enchanting library of all the essential sounds of winter magic. The literal jingle of bells, and other blessed chimes; the clinking of glasses and the popping of bottles of champagne. These are the sounds of Christmas, Hanukkah, and a very special New Year’s Eve and beyond.

    Flysound is proud of the work it has done in this challenging year, and we are happy to face the coming new one, with the people we love and care for, and with the colleagues we respect and cherish. So here we present a celebratory collection of triumphant professional sounds, to stimulate the holiday mood and to joyously ring in the New Year. Cheers!

    Flysound Christmas Library

  • City Life Sound Effects City Ambiences Surround Play Track 35+ sounds included, 178 mins total $55

    Need a quick fix for your city surround sound needs?Well look no further!

    Sonner Sound presents City Ambiences Surround


    We’ve collected ambiences for a wide variety of applications – consisting of traffic, nature, wallas and more. Everything in in crisp 24 Bits/96 kHz and recorded with Neumann KM184 and DPA 5100.

    But you might think “I’m mostly using stereo files” – Well we’ve got you covered there as well. The package contains both 5.1-surround and Stereo.

    There are 35 files in total, at a running time of 178 min (most are around 5 minutes long) and covers a wide range of places in the city. All files are tagged with metadata, and the complete package has a total size of approx 23 Gb.

  • Winter Sound Effects Cross Country Skiing Play Track 76+ sounds included, 31 mins total $37

    Two planks and two sticks, a simple yet effective way of transportation on snow. This release has various tracks, trails and off-trail skiing covered. Fast passbys, slow trekking, speeding down hill, falling down hill, climbing steep inclines, skidding stops and point of view skiing.

    Icey cold fast swishing skiis, stomping through deep snow or leisurely gliding through a beautiful winter landscape.

    Also includes some unique listening angles, single stomps & slides, and a couple of track preparation machines.

    Techniques: Stereo ORTF – Equipment used: Sennheiser MKH8040ST, RME UC(preamp) and Sony PCM D50(recorder).

  • The essentials libraries contain special excerpts from the premium libraries, meaning the same attention was paid to quality in both. I am thrilled to be able to bring this journey together and share it with you here.

    I will be donating 10% of my portion of each sale of this library to the Death Valley Conservancy to aid in research and protection of the endangered and endemic Devil’s Hole Pupfish.

Explore The Full Collection
 

Leave a Reply

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

HTML tags are not allowed.