The Owl Job Escape Toom. Listen. Feel. Unlock. Steal. Asbjoern Andersen


The Owl Job is an upcoming escape room that will take place on 16-18 August 2019 and 10-12 January 2020 at Aesthetic Studios in Melbourne. Kyle Evans, owner of Squeaky Fish (and creator of the ever-popular 'Swordfighter' sound library), designed this unique experience where players role-play as burglars who, in complete darkness, break into a house using audible and tactile clues and the help of a friendly smart speaker named Hermes. Kyle shares with us how he designed the room (with no spoilers) and engaged in player testing, all while keeping accessibility a forefront of the project.

Tickets are sold on the event website - and if you're interested in participating, get your tickets now because August has nearly sold out!


Written by Adriane Kuzminski. Images courtesy of Kyle Evans.
Please share:

A man with pink hair and a plaid shirt sits in front of his work station with The Owl Job on the screen.

Hello, could you give us a quick pitch of The Owl Job and what people can expect from the experience?

The Owl Job is unique in the escape room world. Like most escape rooms, players are placed in a themed room and have 60 minutes to solve all the puzzles that lead to the exit. However, what makes The Owl Job different is that it’s blind friendly and totally sightless. Players will have to use their ears, their hands and their minds to navigate the space and solve the room.
 
When did you first become interested in escape rooms?

I’ve been a fan of escape rooms ever since my sister first told me about them years ago. In the first room I ever played we got stuck on a puzzle that was using Morse code. We had found a codebook but we couldn’t see anything that needed translating. So we called for help and the game master told us to stay still and just listen, which is when we realised that the steam valves that sounded broken, were actually whistling in Morse code. It was there the whole time, we just weren’t paying attention. Since then I’ve always been excited whenever escape rooms used audio in unexpected ways.
 
Is this the first room you’ve created? If so, was its design or story influenced by your other games, like your dice-free RPGs Carnival of Dread or Press Gang?

The biggest lesson was learning that adding complexity doesn’t make for a better puzzle, it just means you’re increasing the likelihood that players will miss something that you thought was obvious.

This is the first “proper” escape room that I’ve created, but my first amateur attempt was turning my kitchen into an escape room. I cooked dinner for my household and told them I’d also made dessert – but that I’d locked it inside a tool chest. I had this whole elaborate setup and honestly, I made some design mistakes that stuck with me. The biggest lesson was learning that adding complexity doesn’t make for a better puzzle, it just means you’re increasing the likelihood that players will miss something that you thought was obvious.

As for the role-playing games, I suppose it comes from a similar place of wanting to craft a story and give players the agency to explore that world in their own way. When I write role-playing game scenarios, they’re often weird worlds with strong horror themes, and although a blind escape room is a rich playground for a horror experience, since this was going to be something new I didn’t want to scare people off right away. In The Owl Job players are burglars breaking into a house in the dead of night. This gives players a familiar location to explore and puts them in a position of power.
 
Where did the idea for The Owl Job come from? When did you start working on it?

It all started when I went to an exhibition called Dialogue In The Dark. It gives sighted people the experience of navigating familiar spaces without sight, while being guided by a blind host. Afterwards I was talking to our host about escape rooms and she mentioned that she liked the idea of escape rooms, but hadn’t found any that she could play because they all relied too heavily on vision. So I went home certain that someone, somewhere would have made a blind friendly escape room. To my surprise, basically no one has. So I decided that this was a thing that needed to exist – and it needed to be something for both non-sighted and sighted people. When The Owl Job launches this month, it will be almost a year to the day from inception.
 
Since escape rooms are generally visually driven and seem to use sound to set the mood rather than portray information (though the Morse code puzzle you mentioned is a good example), how do you lead players to discover critical game information in a room that is completely dark?

Employing things like texture, movement, music, temperature, shape … can inform the players about the potential function of a puzzle piece.

We can use a lot of the same tools you’d use for designing an escape room, you just need to code that information differently. For example say you had a puzzle where you had to arrange three blocks in a specific order. We could make that a tactile puzzle by making a small, medium and large block – and the solution is to arrange them by ascending size. Or we could shift the focus to audio, by turning those blocks into bells with a low, medium and high pitch. Or we could even have different size blocks with the bells inside them. And that’s before we start employing things like texture, movement, music, temperature, shape and or any other elements that can inform the players about the potential function of a puzzle piece.

Of course dialogue is a straightforward way of conveying information too. Since we’re inside somebody’s house, I came up with the idea of there being a smart home assistant – an artificial intelligence called Hermes. He’s able to converse with the players and give them clues. Best of all, Hermes is actually embedded in the story itself as a character.
 
Hermes sounds like an interesting feature! It’s almost reminiscent of Event[0]. How do you and Hermes interact with the players, and how do you control the mix so the sound design is effective without distracting the players while they are solving puzzles?

It was important for players to know that they can also talk back to Hermes and give him commands … without this, players would ignore Hermes and wouldn’t engage in conversation with him beyond the first few minutes.

From my experience as a player, people don’t stay quiet for long, even when listening to clues. For that reason I wrote and re-wrote a lot of the dialogue to keep it as succinct as possible. I’m monitoring a video and audio feed of the room so I can manually trigger Hermes’s dialogue in response to player action. It was important for players to know that they can also talk back to Hermes and give him commands, which is useful if they need him to repeat clues or ask for clarification. So we establish this at the start of the game when Hermes welcomes the players into the home and ask them if they’d like him to put on some music. I found that in early play tests that without this, players would ignore Hermes and wouldn’t engage in conversation with him beyond the first few minutes.

As for the ambient sounds placed around the room, I chose sounds that are naturally calming and not distracting – crickets chirping, a ticking clock and so on. These are also potentially useful tools for helping the player orient themselves around the room. The ticking clock is this nice old fashioned brass clock and I like the idea of players moving this item somewhere else to make an ‘audio waypoint’ for them to return to.
 
Those are some brilliant design decisions. How did you go about planning the placements of the sound objects and triggers? Also, what venue is it in and what kind of gear are you using?

Hermes has his own speaker that’s just for his dialogue. In fact I placed his speaker in line with the first area that players should investigate, so players will (hopefully) naturally gravitate towards that space. It’s a fairly small room at a rehearsal studio, which was chosen because the room needed to be not so large as to be overwhelming.

It was always going to be important to spread out the speaker placement to create an immersive space, with a couple hidden speakers providing ambient background sounds. From the operations side, I have a desk with a laptop, microphone and iPad all running through an audio interface. The laptop is running QLab which is great for sound effects that occur in a linear order. For triggering Hermes’s dialogue I found the iPad’s touchscreen allowed me to be the most responsive. At present, he has around 80 lines of dialogue. I also have the microphone so that I can talk to players in the room. In most escape rooms when players get stuck they simply radio the game master and ask for a hint. This works fine – but it’s not very immersive. So in this game when players ask for hints they ask Hermes to “call the locksmith” who then speaks to players on speaker phone. I take on the character of the locksmith who is able to identify the “lock” the players are working on and nudge them in the right direction.


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


Trending right now:

  • Rock / Stone Sound Effects Rocks Momentum Play Track 1100+ sounds included $37

    The Rocks Momentum sound effects library gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland. Defective construction materials were used for the recording of bricks, roofing tiles, cement blocks etc.

    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.
  • Another electromechanical-focused library from SkewSound! Our reel2reel Sound Library features a professional tape machine from the 1980s. We captured all the sounds this little (well, actually quite large and heavy) piece of gear could create.

    DC motors, servos, tape spinning, metal impacts, and more can be found within this library.

    And if you are on the hunt for some huge, analog style mechanical buttons, you should hear what this library has to offer.

    75 %
    OFF
  • The ROCKS Library is a collection of more than 700 designed rock and stone sound effects, ready to use.
    From single stone impacts to large heavy collapsing rocks, avalanches, rockslides sounds, rolling and falling stones, debris sounds….

    Originally recorded at 192 kHz with two Sennheiser MKH8040, a Sanken CO-100K and a Sound devices Mixpre 6. Delivered at 96Khz.

    Each sound file has been carefully named and tagged for easy search in Soundminer and is Universal Category System (UCS) compliant.

    (see the full track list below).

  • This sound library was carefully recorded, processed and crafted to offer a unique toolset for your ice-cold freezing design needs.

    Great for fantasy genre with ice based magic, enchantment and supernatural elements, shining motion graphics, time lapse and flow motion freeze sequences.

    Bonus Aztec death whistle recordings processed by glass and icy textures.

    This Sound Library is a part of the Slava Pogorelsky – Complete Bundle.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine.”

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

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

    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”

    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”


Latest releases:

  • Motorcycle Sound Effects Scooters Play Track 197+ sounds included, 164 mins total $99

    SCOOTERS features various sound effects recorded from 7 different scooters, ranging from general scooters to a scooter with a modified exhaust. An old two-stroke scooter with high-pitched brake squealing sounds is also included, along with on-board riding sounds (including revving and speeding), pass-bys, idling, approaching, pull-away, engine cranking, and varied mechanism sounds. SCOOTERS sound library helps you create different types of scenes with scooter riding.

    The recorded scooters include:

    ・KYMCO VJR 110
    ・YAMAHA BW’S 125
    ・YAMAHA BW’S R 125
    ・YAMAHA FORCE 155
    ・YAMAHA Super Four (with a modified exhaust)
    ・YAMAHA VINO 50 (Two-stroke scooter)
    ・YAMAHA VINO 50 FI

    This library includes total 197 files, consisting of 170 mono files and 27 stereo files recorded in ORTF at 96 kHz. Approx. 2 hour and 44 minutes total.

    Certainly, this library was carefully tagged with rich Soundminer metadata, including marks in the recordings highlighting interesting sounds.

    All the recordings were recorded, edited and mastered with love and care.

  • City Life Sound Effects Quiet Streets 3d Play Track 100 sounds included, 580 mins total From: $135 From: $78

    Quiet Streets 3D is the latest chapter in Articulated’s Quiet Streets series, offering a meticulously crafted collection of quiet urban ambiences. Designed with both creativity and precision in mind, this library captures the essence of urban stillness through the advanced Schoeps 3D ORTF recording technique, resulting in multi-dimensional soundscapes that reveal both horizontal and vertical spatial details.

    This library features 100 files delivered at 96kHz/24-bit. With a total size of 74.8 GB and over 9 hours and 40 minutes of carefully curated ambiences, Quiet Streets 3D is a comprehensive resource for creating immersive urban soundscapes.

    A Global Journey Through Quietude

     

    The recordings span cities across three continents, capturing the unique characteristics of urban environments in Paris, London, Los Angeles, Tokyo, Bangkok, Naples, Kuala Lumpur, Montreal, Regensburg, Hong Kong, New Delhi, Strasbourg, Singapore, and more. Each location offers its own subtle yet distinct textures, from the hushed buzz of a late-night street in Bangkok to the subdued murmurs of a Parisian alley at dawn.

    A Commitment to Quality

     
    Over two years, our team travelled to these cities to document quiet moments in urban life. Recordings were made at various times of day and across seasons, capturing the interplay of natural and environmental sounds. The ambiences feature layers of biophony (birdsong, rustling leaves), geophony (wind, distant rain), and faint traces of anthropophony (passing footsteps, distant traffic). Care was taken to minimize intrusive noises, ensuring that these recordings integrate seamlessly into projects that require clarity for dialogue or sound effects. Note: at times some distinctive authentic events were kept in order to give the choice for the editor to use them in their projects. These are tagged as marker on the spectrogram.

    A Versatile Tool for Storytelling

     
    The library’s 8-channel 3D ORTF format provides an intricate sense of space, making it ideal for surround sound configurations in film, video games, and immersive media. For those working in stereo, we’ve included a high-quality downmixed version of every file, offering flexibility without compromising quality.

    Recorded with the acclaimed Schoeps 3d ORTF system, it has a total of 8 discreet channels, 4 on the lower plane arranged in 2 pair of ORTF similar to a IRT-Cross, and doubled with a higher plane of 4 more microphones. The channel layout of the sound recorded and delivered is as this: L R Ls Rs hL hR hLs hRs (whereas h stand for high). Learn more about this configuration here: https://schoeps.de/en/products/surround-3d/ortf-3d/ortf-3d-outdoor-set.html

    Every file is embedded with UCS-compliant metadata, allowing for intuitive searching and streamlined integration into your workflow. The metadata includes detailed descriptors, location names, and environmental characteristics, making it easy to find the perfect ambience for any scene.

    A Timeless Collection for Any Project

     
    Whether you need the intimate quiet of a European alley or the expansive stillness of an Asian metropolis, Quiet Streets 3D provides a rich palette of urban soundscapes. This library is not just a collection of audio files—it’s a carefully curated journey through the subtleties of urban life, designed to enhance the emotional depth and spatial realism of your projects.

    With Quiet Streets 3D, you’re investing in a resource that will remain relevant across countless future projects.

    42 %
    OFF
    28 %
    OFF
    28 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Electricity Sound Effects Massive Thunder Play Track 616 sounds included, 217 mins total $29.99

    MASSIVE THUNDER – 616 files of Thunder sound effects, at varying distances and intensities. From low and slow rolling distant rumbles to violently fast and bombastic direct cracking impacts. Massive Thunder comes in at over 3 hours and 37 minutes of short and long scenes of thunder and lightning for every occasion. Recorded during several storm seasons and dozens of independent thunderstorms, with indoors and outdoors perspectives. Massive Thunder’s filenames are in the Universal Category System format with additional Metadata baked-in.

    Don’t need a Massive amount of Thunder and Lightning sound effects? We offer ‘Mini’ sound effect libraries as companions for all of our ‘Massive’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

    40 %
    OFF
  • Car Sound Effects Jaguar XJ 2010 full size car Play Track 46 sounds included, 60 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1, FEL Clippy XLR EM272 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II recorder. The library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

Need specific sound effects? Try a search below:


How did you go about testing the sound design and overall interactivity? Have you tested with blind and sighted players?

As I saw what puzzles worked, I started playing around with adding story and sound elements around the mechanics, finding ways to weave it all together.

For early play tests I set aside a small storage room in my house and ran incremental tests. At first I just built three puzzle boxes testing different ideas. There was no story and Hermes was just the ghostly, disembodied voice who directed players’ attention from box to box. As I saw what puzzles worked, I started playing around with adding story and sound elements around the mechanics, finding ways to weave it all together. As the tactile puzzles came together I started finding new ways to incorporate sound – both digital speaker sound and the organic sounds certain props made – into the puzzle design. I tried to alternate and layer the puzzle types, to keep things fresh.

I also hired Sightless Kombat, who I found via YouTube, as a consultant to look over the whole thing to get a blind gamer’s perspective. He was great because we didn’t just talk about the game itself, but the pre- and post-game experience.
 
Do you use haptic feedback in any way?

No, but that’s definitely something that could be useful in other games.
 
Where did you get most of your inspiration for the design of The Owl Job?

Hermes the smart home assistant is very much my reaction to seeing how current voice recognition technologies are only useful to a point. In this game Hermes warmly welcomes the burglars and offers to help them, addressing each player as the homeowner, Mr Lee. In an early version of the game I had Hermes deliberately mishear the players and say “I’m sorry, did you say set a timer for 60 minutes?” as a way of setting up the 60-minute time limit.

I’ve also taken a lot of inspiration from video game design methods. Often I’ll start players with the simplest version of a puzzle type and let them become familiar with the mechanic, before incrementally re-using similar elements to construct more complex puzzles later on. In this way players go through a tutorial without even being fully aware of it.
 
What were some of the biggest challenges you faced while creating this experience? Did you come across any situations or reactions you didn’t expect?

Honestly the biggest challenge was finding a wheelchair accessible venue. All too often I’d find the perfect place but it would be up a set of stairs. I wanted to do my best to make this open to as many people as possible but not enough venues are accessible to begin with. It took months, but I’m glad I had people to keep me on track and not compromise on this.

Also as much as I love digital robotic vocals, I ended up pulling back on the sound of Hermes voice and tried not to go overboard with the effects. It was more important that he sound articulate and understandable to players. So instead there’s a fare amount of combining different takes to create a feeling of vocal synthesis. And if Hermes repeats a word within the same sentence, I’ll re-use that same word sample to emphasise the constructed nature of his speech patterns.
 
Will you be releasing any Squeaky Fish sound libraries with the audio you created for The Owl Job?

No because most of the original recordings for this game are actually voice actor sessions. I wanted to make the experience feel rich and like it wasn’t just one person running the room, so there’s actually a few different voices players will hear throughout the experience.
 
Where can people sign up to attend The Owl Job or stay updated on the project?

The Owl Job sessions are booked by going through our website. This is an experiment, so I initially only planned for a three day run. But I’ve just added a second run for January 2020.

We also have a mailing list here and our facebook event is here.
 
Finally, is there anything else you’d like readers to know?

I would love to see more escape rooms embrace the potential in exploring different puzzle types like audio and tactile puzzles.

Sound, like accessibility, is sometimes an afterthought for escape room designers. I would love to see more escape rooms embrace the potential in exploring different puzzle types like audio and tactile puzzles. I think The Owl Job is an example of how making your game more accessible can spawn new creative choices and brings something fresh to the escape room experience. I would love to see other escape room designers take this idea and run with it and make it their own.
 

A big thanks to Kyle Evans for giving us a look at the brilliant sound design of The Owl Job escape room – and to Adriane Kuzminski for the interview!

 

Please share this:


 



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

  • Foley Sound Effects Rummage Play Track 733+ sounds included $12.80

    Rummage is a collaborative sound library from SoundBits and Glitchedtones with a focus on unsystematic searches through everyday items.
    Created especially for projects calling for careful, hasty or frantic rummaging, these 733 files offer up plenty of variation to cover a wide range of scenarios. Featuring searches through paper, pockets, trash, wallets, retro media, wood, tools, bags, wardrobes, metal and lots more… your movie scene, game environment or even music production in need of some Rummage, is covered, or more appropriately, uncovered!”.

    60 %
    OFF
  • Just Whoosh 3  brings you 575 recorded whoosh sound effects. Some of the props used include: Cloth blankets, jeans, leather and nylon jackets, fishing rods, boom poles, bamboo/wood/metal/plastic sticks + ropes with things like spatulas attached to one end (!), chains, a torch, and some cars passing by.

    50 %
    OFF
  • Another electromechanical-focused library from SkewSound! Our reel2reel Sound Library features a professional tape machine from the 1980s. We captured all the sounds this little (well, actually quite large and heavy) piece of gear could create.

    DC motors, servos, tape spinning, metal impacts, and more can be found within this library.

    And if you are on the hunt for some huge, analog style mechanical buttons, you should hear what this library has to offer.

    75 %
    OFF
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Motorcycle Sound Effects Scooters Play Track 197+ sounds included, 164 mins total $99

    SCOOTERS features various sound effects recorded from 7 different scooters, ranging from general scooters to a scooter with a modified exhaust. An old two-stroke scooter with high-pitched brake squealing sounds is also included, along with on-board riding sounds (including revving and speeding), pass-bys, idling, approaching, pull-away, engine cranking, and varied mechanism sounds. SCOOTERS sound library helps you create different types of scenes with scooter riding.

    The recorded scooters include:

    ・KYMCO VJR 110
    ・YAMAHA BW’S 125
    ・YAMAHA BW’S R 125
    ・YAMAHA FORCE 155
    ・YAMAHA Super Four (with a modified exhaust)
    ・YAMAHA VINO 50 (Two-stroke scooter)
    ・YAMAHA VINO 50 FI

    This library includes total 197 files, consisting of 170 mono files and 27 stereo files recorded in ORTF at 96 kHz. Approx. 2 hour and 44 minutes total.

    Certainly, this library was carefully tagged with rich Soundminer metadata, including marks in the recordings highlighting interesting sounds.

    All the recordings were recorded, edited and mastered with love and care.

  • City Life Sound Effects Quiet Streets 3d Play Track 100 sounds included, 580 mins total From: $135 From: $78

    Quiet Streets 3D is the latest chapter in Articulated’s Quiet Streets series, offering a meticulously crafted collection of quiet urban ambiences. Designed with both creativity and precision in mind, this library captures the essence of urban stillness through the advanced Schoeps 3D ORTF recording technique, resulting in multi-dimensional soundscapes that reveal both horizontal and vertical spatial details.

    This library features 100 files delivered at 96kHz/24-bit. With a total size of 74.8 GB and over 9 hours and 40 minutes of carefully curated ambiences, Quiet Streets 3D is a comprehensive resource for creating immersive urban soundscapes.

    A Global Journey Through Quietude

     

    The recordings span cities across three continents, capturing the unique characteristics of urban environments in Paris, London, Los Angeles, Tokyo, Bangkok, Naples, Kuala Lumpur, Montreal, Regensburg, Hong Kong, New Delhi, Strasbourg, Singapore, and more. Each location offers its own subtle yet distinct textures, from the hushed buzz of a late-night street in Bangkok to the subdued murmurs of a Parisian alley at dawn.

    A Commitment to Quality

     
    Over two years, our team travelled to these cities to document quiet moments in urban life. Recordings were made at various times of day and across seasons, capturing the interplay of natural and environmental sounds. The ambiences feature layers of biophony (birdsong, rustling leaves), geophony (wind, distant rain), and faint traces of anthropophony (passing footsteps, distant traffic). Care was taken to minimize intrusive noises, ensuring that these recordings integrate seamlessly into projects that require clarity for dialogue or sound effects. Note: at times some distinctive authentic events were kept in order to give the choice for the editor to use them in their projects. These are tagged as marker on the spectrogram.

    A Versatile Tool for Storytelling

     
    The library’s 8-channel 3D ORTF format provides an intricate sense of space, making it ideal for surround sound configurations in film, video games, and immersive media. For those working in stereo, we’ve included a high-quality downmixed version of every file, offering flexibility without compromising quality.

    Recorded with the acclaimed Schoeps 3d ORTF system, it has a total of 8 discreet channels, 4 on the lower plane arranged in 2 pair of ORTF similar to a IRT-Cross, and doubled with a higher plane of 4 more microphones. The channel layout of the sound recorded and delivered is as this: L R Ls Rs hL hR hLs hRs (whereas h stand for high). Learn more about this configuration here: https://schoeps.de/en/products/surround-3d/ortf-3d/ortf-3d-outdoor-set.html

    Every file is embedded with UCS-compliant metadata, allowing for intuitive searching and streamlined integration into your workflow. The metadata includes detailed descriptors, location names, and environmental characteristics, making it easy to find the perfect ambience for any scene.

    A Timeless Collection for Any Project

     
    Whether you need the intimate quiet of a European alley or the expansive stillness of an Asian metropolis, Quiet Streets 3D provides a rich palette of urban soundscapes. This library is not just a collection of audio files—it’s a carefully curated journey through the subtleties of urban life, designed to enhance the emotional depth and spatial realism of your projects.

    With Quiet Streets 3D, you’re investing in a resource that will remain relevant across countless future projects.

    42 %
    OFF
    28 %
    OFF
    28 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Electricity Sound Effects Massive Thunder Play Track 616 sounds included, 217 mins total $29.99

    MASSIVE THUNDER – 616 files of Thunder sound effects, at varying distances and intensities. From low and slow rolling distant rumbles to violently fast and bombastic direct cracking impacts. Massive Thunder comes in at over 3 hours and 37 minutes of short and long scenes of thunder and lightning for every occasion. Recorded during several storm seasons and dozens of independent thunderstorms, with indoors and outdoors perspectives. Massive Thunder’s filenames are in the Universal Category System format with additional Metadata baked-in.

    Don’t need a Massive amount of Thunder and Lightning sound effects? We offer ‘Mini’ sound effect libraries as companions for all of our ‘Massive’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

    40 %
    OFF
  • Car Sound Effects Jaguar XJ 2010 full size car Play Track 46 sounds included, 60 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1, FEL Clippy XLR EM272 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II recorder. The library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.


   

Leave a Reply

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

HTML tags are not allowed.