‘Wilderness – Flowing Water Sound Effects’ from Bluezone Corporation contains a selection of 40 carefully recorded calm and rushing mountain river sounds, running stream sounds, small and large waterfall sound effects.
Created with a large selection of high quality recordings (24 bit / 96 kHz), all ambiences included in this sound library (1.2 GB) are carefuly processed and designed to give you ready-to-use elements. All samples are royalty-free for all your commercial projects.
Wilderness Americas : Amazon Rainforest is a collection of sounds captured in the West part of the Amazon basin (El Oriente) across 3 South American countries : Bolivia, Ecuador and Colombia.
This library focuses on the wildlife and wilderness sounds of the Amazon rainforest/jungle.
Reaching the Amazon region is not easy and need many resources and time.
Also the weather conditions are very bad for people and audio equipment: Extreme humidity, rain and heat don’t work great with microphones and recorders.
We have selected audio gear specifically for this purpose: Tropicalized microphones : sennheiser MKH 8020 and MKH 30 series in a surround configuration + a world-renowned recorder : Sound devices Mixpre 10T. We also brought a humidity-proof microphone basket (Cinela)
This weather-proof setup permitted us to record even under strong tropical rain. (We have also a special mic cover which reduces the sound of raindrops on the microphone basket)
We have always focused on places where they protect and respect the “Selva” (Forest), especially places like National Parks, Research Stations or community places.
-> We went recording in these places: Madidi National Park (BOLIVIA), Podocarpus National Park (Ecuador), “Jatun Sasha” biological station (Ecuador),
The forest around the Rio Napo (an affluent connection to the amazon river) (Ecuador), the “Reserva de Produccion Faunistica Cuyabeno” (Ecuador), and the region around Mocoa, between Santa Rosa Canyon and the Paway Reserva (Colombia).
We used “sound trap” technics for long and immersive recordings: We hid microphones and protected recorders in a waterproof bag and let it sit for days and nights in the middle of the rainforest (usually 24 hours of non-stop recording).
This system allowed us to record the sunrise, dawn chorus, and sunset – times where the animals are more active.
Here is some animals we have recorded :
Exotics Birds and more, especially parrots, parakeet, cuckoo, Oro Pendulo, cacique, magpie, etc.
Insects and more, especially crickets, cicadas, mosquitos, flies, etc.
Mammal : Amazonian flying squirrel, spider monkeys, and howler monkeys
Amphibians: Frogs, toads
Each sound recording are tagged with GPS coordinates and full Soundminer metadata.
-The Full sound bank (Stereo + Surround/Ambisonic) contains 117 sound takes recorded in 24/96khZ (Total length : 566 minutes) and decline in 351 files
“Wilderness Americas : Geyser and Volcano” is a collection of sounds focused on geothermal phenomena of Central and North America.
We recorded geysers in the Yellowstone National Park (USA) and two very actives volcanoes: the Fuego in Guatemala, and the Masaya in Nicaragua.
To complete this sound library, we added natural sound elements which are very efficient for sound design as designed sound material:
“Super volcano” eruption sounds, magma lake ebullition sounds, lava movement, and landslide sounds.
The geyser and Masaya volcano sounds (magma lake, lava movement) were recorded with the Telinga Parabola with a Sennheiser MKH 8040. The Telinga was used for its powerful ability to focus on sound details at a reasonable distance.
The explosions and eruptions of the Fuego volcano were recorded in surround with a Sennheiser DMS setup (MKH 8040-30) and also with the Telinga Parabola + MKH 8020.
-This sound bank contains 56 sound takes recorded in 24/96 kHz, and a total of 122 files.
High-quality nature ambiance of wild landscapes in both eastern and western Oregon – with a focus on different cricket sounds by day and night.
Types range from hot desert heat to cold windy forest nights, to vibrant riversides. Many tracks are quite long – several minutes or longer. A number catch crickets quite close to the recorder
Add depth and ferocity to your scenes and creature designs with the untamed energy of Wildlife Collection: Bengal Tiger. With 150 vivid tiger sound effects and vocalizations, this pristinely captured specialty library delivers a wide variety of tiger recordings that are ready for naturalistic use or manipulation for sound design applications.
Featuring the expressive sounds of a middle aged female Bengal tiger, recordist and sound effects editor Chris Diebold (Spider-Man: Homecoming, Transformers: The Last Knight) captured this collection at 24-bit/192kHz using multiple microphones, including the Sanken CO-100K, which has a frequency response of 20Hz – 100kHz. This makes the natural and characteristic sounds of the tiger ripe for pitch processing and control over your sound design. Use the high-quality recordings of deep growls, gnarly crunches, and heavy chuffs to design your beasts, creatures, monsters and more.
In addition to the raw recordings, this collection also contains designed and “hyped” sounds, ready to drag-and-drop directly into your monstrous designs and animalistic scenes. Each sound file is embedded with rich, descriptive metadata for fast, intuitive search results to help increase efficiency and sustain creativity.
Invigorate your animal and creature designs with the sprightly sounds of Wildlife Collection: Capuchin Monkeys. Featuring 81 exotic monkey sound effects, this library delivers a wide variety of vivacious chirps, screeches, chitters and grunts to design your wild creatures, fill out jungle scenes, and more.
These colorful capuchin monkey vocalizations were captured by recordist and sound designer Chris Diebold (Spider-Man: Homecoming, Transformers: The Last Knight) with multiple microphones, including the Sanken CO-100K, which captures and maintains up to 100kHz (rather than 20kHz from other microphones). Delivered at the high sample rate of 192kHz, these authentic, high-quality monkey recordings are ripe for pitch processing and control over your creative sound design.
In addition to the raw recordings, this collection also contains pre-designed and “hyped” sounds ready to drag-and-drop directly into your projects. Each sound file is embedded with rich, descriptive metadata for fast, intuitive search results to help increase efficiency and sustain creativity.
Beef up your creature sound design with the deep intensity of the Wildlife Collection: Grizzly Bear sound effects library. With 146 expressive bear sound effects and vocalizations, these high-quality recordings contain a wide variety of grunts, roars, sniffs, mouth smacks, and purrs that are ready for naturalistic use or manipulation for sound design applications.
Recorded at 24-bit/192kHz using multiple microphones including the Sanken CO-100K, which captures and maintains up to 100kHz (rather than 20kHz from other microphones), field recordist and sound designer Chris Diebold (Spider-Man: Homecoming, Transformers: The Last Knight) captured the unique vocalizations and slimy mouth-noises of an old aged male Grizzly bear. Use the natural and characteristic recordings of deep groans, slimy chews, and heavy breaths for pitch processing and control over your sound design, to design your beasts, creatures, monsters and more.
In addition to these raw bear recordings, this collection also contains 41 designed and “hyped” sounds, ready to drag-and-drop directly into your monstrous designs and animalistic scenes. Each sound file is embedded with rich, descriptive metadata for fast, intuitive search results to help increase efficiency and sustain creativity.
Bring your creature designs to life with a ferocious edge using the beastly power of Wildlife Collection: Leopards. Containing more than 200 exotic leopard sound effects, this library delivers a wide variety of recordings that are ready for naturalistic use or manipulation for sound design applications.
Featuring the sounds of both spotted leopards and black leopards, recordist and sound designer Chris Diebold (Spider-Man: Homecoming, Transformers: The Last Knight) captured this collection at 24-bit/192kHz using multiple microphones, including the Sanken CO-100K, which captures and maintains up to 100kHz (rather than 20kHz from other microphones), making these natural and characteristic leopard recordings ripe for pitch processing and control over your sound design. Use the high-quality recordings of monstrous growls, threatening snarls, and ornery groans to design your beasts, creatures, and more.
In addition to the raw recordings, this collection also contains designed and “hyped” sounds, ready to drag-and-drop directly into your projects. Each sound file is embedded with rich, descriptive metadata for fast, intuitive search results to help increase efficiency and sustain creativity.
This sound pack of the WWII Willys Jeep will bring historical accuracy to your soundscape. You get four channels with all the characteristics of the vehicle from the cockpit left, right and rear and the exhaust. Also contained in this seven and a half minute recording is the vehicle starting, stopping, idling, driving, free revving, gear sounds and more. Few vehicles are more iconic from the WWII era!
“Wimpy Dog” is a collection of over 35 different recordings of a particularly sad German shepherd. He whines, he calls out, he yelps, he pants and pleads for attention in a truly expressive manner. He’ll be sure to bring some much needed character to any dog you’ve got onscreen or a creature you are designing.
The takes are generous in length, with plenty of breaths before and after each vocalization simplifying the creation of complex sequences. All of this was recorded outside, with great signal to noise, ie. very little air. No kennel reverb or cage moves and only the occasional birds in the background. That adds up to sounds which will hold up to robust amounts of processing.
This comprehensive sound library is where you can find: sounds of wind in urban and nature environment, room tones, wind recorded in car, wind whistling under doors and windows, at the sea-boats mast and hardware, in trees, in buildings corridors, lobby, attic etc. Check the list of sounds for full info. All files are metadata tagged, with detailed description of equipment used object of recording etc.
Recorded with high end recording equipment: Sennheisers MKHs, mics; Rycote blimps, Sound Devices 744T recorder, Sound Devices MixPre mixer, Mogami cables, etc.
Maximum peak level on all recordings is -5 dBFS (for great dynamic range, great headroom), originally recorded with great headroom keeping in mind and to maintain great dynamic range of this natural phenomena.
This sound library is part of the Complete Craig Carter Collection, containing a wide range of wind recordings.
Recorded over Craig’s 34 year career as an esteem Australian sound designer, this library consists of natural winds, synthesised winds and eerie interior winds.
An interior wind collection is a must-have. It howls and it hoots through the recess of a door or a window.
This is your exterior wind collection, mainly recorded outside with a wind trap. You will be surrounded in your editing room by blowing, fresh air.
Wind Elements – Interior is 75 minutes/2.43 Gb of howling, blasting and fluttering wind, recorded from inside various buildings. 90 separate files – recorded in 24bit/96kHz using Sennheiser MKH & Primo EM172 microphones, and mastered in X/Y stereo.
This collection is the bigger, badder sequel to bestseller Howling Winds – Interior, with more of everything: fresh recordings, more types of wind, more locations and just more variation.
Everything from violent blasting and howling, to gentle, caressing wind. Some with sleet and rain, cracking and creaking of window frames and roof materials, others with faint sound of rustling leaves or urban buzz.
You get both long ambiances from various locations, as well as plenty of short files to sweeten up your mix.
Some sounds have been eq'ed aggressively to enhance the feeling of being indoors, but very little processing has been applied otherwise. You'll hear a bit of hiss here and there; I left it in because I felt noise reduction would take away too much character in those specific cases.
Mix of ambience recordings, both with and close-ups of wind turbines in a wind farm.
With every purchase there are some free extra files, linked to some ambience ones, recorded with shotgun microphones, to get an even closer close-up, ideal also for SFX and sound design.
• In Wind Harp, get an expansive collection of musical winds from the mountains of the American Southwest. Hear singing wires brought to life by 30 mph gusts and desert winds meshing perfectly with musical drones. Hear blustery blasts whipping through mountain valleys and scrappy desert foliage rustling frantically. Hear dancing grasses strike fretboard strings, pinging rich melodies with each swaying stalk.
• To record this library an acoustic guitar was transformed into an aeolian harp. I hope this library gives you a chance to hear the wind in a way you haven’t heard it before. Enjoy listening to the natural music of the wind as it sings on long thin wires
2% FOR THE ENVIRONMENT:
• Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
Wind In Broadleaf Trees is a collection of recordings focusing on wind through broadleaf trees. Recorded in a Swedish forest in October it is representative of the most common broadleaf trees in Europe and other areas with a temperate climate.
In this collection I wanted to capture evocative and emotional wind sounds, from the soothing and relaxing soft winds, tense moderate winds, dramatic strong winds and the transitions between the different emotions or speeds of wind.
The collection was recorded at 24 bits 96Khz with an A-B stereo setup. It contains both longer files, with two minutes and more in length and shorter files edited to be a seamless loop. The files also come with embedded metadata.
Here are ambient and specific recordings of rustling leaves, fluttering twigs and creaking trunks. Pine and Fir trees, Beechwood hedgerows and leafless Oak trees, along tall grass and reeds. All in all, a collection representative of the cultured landscape in Denmark, as well as much of northern Europe. I was lucky enough to record a storm during the last days of 2016, and those sounds are of course included here. No human voices or man-made sounds, but a few of the sounds have bird vocalizations in them.
The focus is rather narrow, going for many nuances of the same flavor – rather than many flavors. If you need sounds of a storm or gale in northern European vegetation, then this should fit the bill. Note that there is audible buffeting in several files. I opted to leave it in there, as it might suit some purposes, and let me keep the most violent passages. You can try your luck with noise reduction, but since wind is mostly broadband noise anyway, it might not turn out well. YMMV.
A few sounds appear in both mono and stereo versions, where the stereo version are X/Y derived from the M/S source files and the mono versions are simply the Mid channel. I did this, because most people seem to prefer X/Y files for post-work, rather than M/S – but a down-mix of X/Y to mono would be inferior to using the original Mid-mic signal. All sounds were captured in Denmark between October and January.
Wind Textures features blowy and breezy ambiences, both in urban and rural areas as well as outdoor and indoor perspectives.
Wind Textures II continues with the series started on Wind Textures. New textures and locations have been included in this collection in order to make it as diverse as possible.
Get the recordings of a three-bladed wind turbine, captured from five different positions. The collection includes the full-length recordings from each position as well as shorter, edited files. The full-length recordings are tagged with “RAW” at the end of the file name. The shorter, edited files are tagged like this: “high intensity”, “low intensity”, “low to high intensity” and so on.
The Wind Turbines library introduces the sounds of fizzling propeller blades, rotating nacelles, humming transformer stations, mysterious drones and other mechanic noises gathered from inside wind turbine towers.
All these specific sounds are complemented by large-field wind farm ambiences.
The library is organised into 7 themes that include takes with a length from 19 seconds to more than 2 minutes.
Blade Noises • Drones • Nacelle Rotation • Tower Sounds • Transformer Stations • Ventilation • Wind Farm Ambiences
This is the windmills sound effects archive from Morten Green Sound FX
27 soundfiles of totally 62 minutes of sound in 96 kHz 24 bit.
The windmills recorded in this archive are 6 old 45 metre tall windmills, generating electricity on the coast of the small Danish island Orø. They are rather old and worn out, so they generate a lot of interesting noises, especially when you get very close to them.
The structures are from metal, bolted into a concrete foundation with small openings, so you can actually get the microphones underneath the reverberant structure itself, for sounds from inside the windmills. The blades are made from glass fibre and pretty worn, so they give a lot of nice whistling noises.
There are recordings from many different distances to the windmills, ranging from 150 m to right underneath the windmill structure.
Most of the sound files are more than 2 minutes in length.
With A Sound Effect, Asbjoern has created a web site where our international community can browse, learn, and share the vast fruits of our labors. Together we are accelerating the very real potential power of sound design as a recognized art form.
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