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Metal sound effects
The Master Gun Barrett M107A1 Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
The Master Gun AK-47 (Type-56) Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
The Master Gun Blaser LRS2 Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
The Master Gun Kel Tek KSG Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the Kel Tek KSG with a suppressor attachment. The suppressed Kel Tek KSG was sampled right after the unsuppressed recordings using the exact same microphone setup as the unsuppressed version. This provides you a seamless transition between the unsuppressed and the suppressed recordings.
The suppressed recordings also have the added benefit of muting the shot layers which helps bring out the intricate details of the mechanism (mech layers).
Because adding a suppressor to the firearm increases the weapons muzzle velocity, the fire rate of the suppressed weapon is slightly faster than its unsuppressed counterpart.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
The Master Gun IWI Galil MAR Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
The Master Gun Beretta M9A3 Sound Effects library is recorded using a large array of various microphone configurations, we recorded shots from several distances in an open shooting range in the Nevada Desert.
Our raw shots features a total of 20 channels including 10 Stereo sources. All of our close and mid spaced pair Microphone options can be used as two independent mono microphones. The right side of every spaced pair will have more Mech than its left side counterpart.
Every single gun has been recorded using the same gain settings on the same recorders, and we have level matched each microphone option between the same calibers so your 50ft microphones will be the same or similar across all libraries that share the same calibers. This makes mixing large amounts of weapons easier as the loudness and character of each gun is predictable.
Our foley features a total of a stereo A/B pair of Neumann KMR81i mts which are placed on both the left and right of the gun. All of the foley has been recorded at 192kHz for extreme processing workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the Beretta M9A3 with a suppressor attachment. The suppressed Beretta M9A3 was sampled right after the unsuppressed recordings using the exact same microphone setup as the unsuppressed version. This provides you a seamless transition between the unsuppressed and the suppressed recordings.
The suppressed recordings also have the added benefit of muting the shot layers which helps bring out the intricate details of the mechanism (mech layers).
Because adding a suppressor to the firearm increases the weapons muzzle velocity, the fire rate of the suppressed weapon is slightly faster than its unsuppressed counterpart.
Created from the ground up we’ve designed a collection of game-ready mixes for your next project. If you are creating your own custom weapons system and would like to use our designed mixes in your project, you can use our no-tail options which are our realistic designed mixes without our tail layers. Just drag, and drop.
All files contain extensive metadata to provide you with the fastest and easiest workflow possible. Metadata can be read and processed by audio management tools. Some digital audio workstations feature an included search tool that can also read embedded metadata.
Telephone Booths features the sounds of indoor wooden and outdoor aluminum telephone booths. From the early 20th century until the last decade, these booths could be found inside hotels, restaurants, offices, state capitol buildings, highways and rest areas throughout the United States. In addition, the library includes sounds of pay telephones that would have been used inside these booths. These include hand crank, 3-slot rotary and 1-slot push-button Touch-Tone telephones.
I used a variety of microphones along with several miking techniques (X/Y, OFTF, and binaural). You’ll hear bi-fold doors sliding open and closed in stereo, sometimes accompanied by an annoying squeal. You’ll listen to coins being dropped into the phone and receivers being picked up and placed back on their cradles. And of course, you’ll hear numbers being dialed. On a rotary phone, each number takes slightly longer to circle the dial, with one being the shortest and zero being the longest.Â
Over 80 spokes on an abandoned vintage hay tedder produce raw rattles, vibrations and scrapes.
Featuring geophone and contact mic recordings, the library includes detailed textures from metallic rubs and glitches to wind tones and subtle grass rustles.
Perfect for creating atmospheric metal FX, deep bass clangs, trembling impacts and earthquake-like rumbles.
Multi Recording Takes For Varying Nuances
Multiple Microphone Perspectives
Type : Source Files – WAV Stereo & WAV Mono
Mastered : No
Normalised : Yes -6 dbFS   Â
Recorder : Sound Devices Mix Pre 10II
Microphones : Stille and Klang spot contact microphones, Organic Audio Cjossul contact microphones, LOM Geofon
Microphone Perspective : Contact / Magnet
Documentation Included : Copyright, EULA, Images, Metadata (exported in multiple formats)
Metadata : Files are stamped with detailed UCS compliant metadata in Soundminer, including pictorial references.
288 files • 96 kHz/32 Bit • 3.74Go • 54:29 mins
Introducing Homemade Waterphone: a daring journey into the realm of experimental sound design. Crafted from scratch, this unique instrument is the culmination of our quest to forge an otherworldly sonic experience.
Designed as the ultimate tool for crafting horror stingers, thrilling ambience, and spine-chilling sequences, Homemade Waterphone offers an unparalleled range of possibilities. By seamlessly blending contact microphone and stereo microphone recording techniques, we’ve unlocked a vast spectrum of sounds, spanning from earth-shaking sub-bass to ethereal high frequencies.
Each sound within this library has been meticulously captured using top-of-the-line equipment, ensuring unparalleled audio quality. Every detail has been painstakingly refined through individual editing, resulting in a collection of sounds that are both captivating and immersive.
Delivered in Broadcast Wave format, with embedded metadata for seamless integration, Homemade Waterphone promises a fast and effortless workflow. Whether you’re scoring a horror film, crafting a spine-tingling video game soundtrack, or exploring the depths of experimental music, this library is your key to unlocking a world of sonic possibilities. Are you ready to dive into the unknown?
Respecting all complaints from the UCS system.
Discover the Mechanical Pencil Sharpener Library, featuring 90+ high-quality recordings of a hand cranked mechanical Boston pencil sharpener. With a wide variety of sounds from the sharpener including cranking at different speeds, grinding, impacts, squeaks, clanks and clicks there’s plenty of material to use in your designs.
Perfect for filmmakers, game designers, and sound engineers, these 192kHz/24bit recordings offer versatile creative possibilities and allowing for fantastic pitch bending.
Ideal for design, weapons, mechanical devices, engine rooms, sweeteners, and a wide range of other metal, rubber, and mechanical gear related activities.
Nolan Sound Library – ALL IN ONE Bundle.
Get 1825+ Files in one bundle: Trains, Norway Nature, Nature Soundscapes, Radio Noises, Motocross, Foley Sounds, Spain Ambiences, Planes, Airports, New York Life, Mountains Winds, Forests and many more…
Also includes the NSL in ATMOS Format for big productions.
Typewriters is a sound effects collection chock-full of vintage typewriters making sounds beyond the simple click-clack-clunk heard in so many TV shows and movies. I was curious if there was more to the sound of these old machines than meets the naked ear. Would recording them with high-end Barcus Berry contact microphones help bring out the best in them sonically? After recording 20 typewriters for this library, and performing a variety of keystrokes and actions on each in isolation, I can definitively say, yes.
Included are standard, portable and ultraportable machines from the early 20th century to the mid-1970s. Each machine, metal or plastic, emits sounds that are almost musical in nature. These files can enhance your next sound design project in nuanced ways that exceed the usual clickity-clack-clunk-thwack-smack we associate with typewriters. You’ll get a variety of zips, rips, twangs, growls, bounces, snaps, zings, rings and dainty end-of-line warning bell dings.
The Foley Vault is home to an ever-growing collection of original Foley recordings.
Each library was captured by professional Foley Artists on our in-house Foley Stage using a Sennheiser MKH50 microphone.
These sounds were originally performed for a variety of feature and short film projects. They have now been compiled and released for you to edit and implement into your own film, game and television productions.
Resonating metallic creaks, groans, impacts, rattles and tremors from two variations of the BlueBird cargo bicycle.
This library covers all the possible perspectives, featuring recordings from the metallic box interior, exterior and contact.
All sounds were recorded using DPA 4060 stereo pair, Jez Riley French C-Series contact microphones, Schoeps CCM4/CCM8 Mid-Side microphone and the Sound Devices 788T.
Mid-Side recordings are presented in their raw, uncoded format as well as decoded stereo files for efficient editing. Recordings have been processed using the Control V2 plugin by Brainworx.
Visit edible-audio.com for behind the scenes photos, contact information, sound library updates and exclusive deals.
Metallic Scrapes is a focused library of metal-on-metal movements, featuring a range of drags, scuffs, and surface scrapes. From short, subtle textures to longer, sustained scrapes, these sounds provide useful building blocks for adding grit, tension, or industrial detail to your projects.
Each sound is included in both raw and processed versions, giving you flexibility to choose between clean recordings for natural realism or designed variants that are ready to drop straight into your timeline.
While less dramatic than impacts or crashes, these textures are effective for layering into ambiences, creating transitional elements, or adding subtle tension in sci-fi, horror, or industrial contexts.
All files are carefully edited and delivered in 96kHz / 24-bit quality, complete with UCS-compliant metadata for fast and accurate search results in your sound effects workflow.
Metallic Impacts delivers a dynamic collection of strikes, crashes, and resonant hits created from a variety of metal objects. Each sound is provided in both raw and processed versions, giving you the choice between natural recordings for authentic realism or designed impacts for instant cinematic punch.
Designed with versatility in mind, these sounds are perfect for trailers, action sequences, combat design, or building tension in horror and sci-fi contexts. Every file has been precisely edited for immediate use, recorded and mastered at 96kHz / 24-bit to preserve detail and allow for extreme processing. All files include UCS-compliant metadata, ensuring they drop seamlessly into your sound effects workflow.
Metallic Atmospheres is a collection of designed ambiences crafted entirely from metallic source material. Our team recorded a wide variety of metal objects and surfaces, then applied advanced sound design techniques to transform them into evocative atmosphere tracks.
This diverse assortment captures an extensive range of textures and emotions, from eerie resonances and unsettling tonal beds to harsh industrial environments. Perfect for quickly establishing a dark, immersive mood, these sounds are ideally suited for sci-fi, horror, dystopian, and post-apocalyptic productions.
Every file has been meticulously edited for immediate use, so you can drag and drop them straight into your DAW timeline without extra cleanup. All sounds are delivered at 96kHz / 24-bit for maximum fidelity, giving you the flexibility to manipulate, stretch, and layer them further in your own designs. Each file has been tagged with UCS-compliant metadata, ensuring seamless integration into any professional sound effects workflow.
Hammer Impacts contains 53 high quality impacts on nails, wood and metal surfaces, with variations of soft, medium and heavy hits. It features a mix of both single strikes and multiple strikes, offering flexibility depending on your projects.
Quietsub FX Construction
A large collection of 1,097 Construction sound effects. This contains the sounds made fixing around the home and noises made by professionals, as loud as they may be.
It seems people are always building something. They also make a lot of noise doing it. From home building, workshops, public works projects, home renovation and plumbing, even Blacksmiths! This collection covers all the bases.
Production of this collection was challenging. Although recording stationary sounds like hammers and saws is relatively simple, they still have to be located and gain permission to record items. Also, large construction equipment has be recorded on-site. Getting close enough can be difficult. Being polite and respectable to workers always helps. It can be dusty, dirty, and you deal with conflicting background sounds such as road traffic.
Sounds in this collection:
Everything you need for your next construction project!
Files are 24-96000 BWF with metadata.
We were in need of some Saxophone foley but couldn’t find any suitable sounds, noticing a gap in the market we borrowed a Saxophone and started recording trying to cover as much as we could.
We recorded everything from:
Saxophone Grabs and Releases
Saxophone Foley Taps, Handle and Strokes
Key Presses
Mouth Piece Attach
Neck Attach and Remove
Saxophone placed/removed into/from a case
Case Fabric stokes for more Saxophone/Case contact
Saxophone will give you enough audio to give your project the authentic sound of a Saxophone, boosting your project to the next level. Saxophone has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples.
This Sound-Pack features a diversity of 51 Punctual Sounds, including Train Pass by, Onboard High Speed Rolling, Raw Metal Railway Sounds, Train Doors, and a lot more !
HD Game Materials is made for sound design. Capturing 8,300 ultra high-quality material sounds recorded at 192kHz / 32-bit, this library gives you professional source recordings that will stand the test of time. Whether you’re designing AAA games, cinematic trailers, detailed foley, or intricate immersive audio soundscapes, these sounds are ready for extreme processing. Perfect for stretching, pitching, layering, mashing, mixing and mangling without losing fidelity.
HD Game Materials – 192k 32bit High Resolution Source for Game and Film Sound Designers is a precision-crafted source SFX library made for professionals who require uncompromising quality and efficiency. With ultra-detailed 192kHz/32-bit fidelity, it provides a permanent, reusable foundation for sound designers needing studio-grade SFX to fuel advanced interactive sound design. It’s a future-proof investment too, because all of the high-resolution source materials are meticulously engineered to preserve sonic integrity in any project and with any of today’s cutting-edge audio processing technologies. Even more, HD Game Materials eliminates the labor-intensive cycle of planning, recording, editing, cataloging, and metadata tagging, saving you time and production costs. Now you can prioritize what truly matters: delivering high impact sound design and dynamic story-driven audio experiences. Do it now and for a long long time to come with HD Game Materials – High Resolution Source for Game and Film Sound Designers.
MINI Geophone – 19 files of geophonic sound effects, at varying distances and intensities. From hard surface vibrations to subtle ground movements and flowing energy to echoing bass. Mini Geophone comes in at over 43 minutes, of odd and familiar noises through a geophonic filter. Bring the esoteric world of high fidelity sub-focused frequencies to your next project. Recorded at 192kHz and 32bit, using an omni-directional geophone microphone capable of recording ultrasonic frequencies. Mini Geophone filenames are in the Universal Category System format with additional Metadata baked-in.
Looking for a Massive amount of Geophonic sound effects? We offer ‘Massive’ sound effect libraries as companions for all of our ‘Mini’ 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.
Unleash the power of metal with our 100 Heavy Metal Frictions, Slams, Slides, Drags, Rolling, and Machinery Starting Sound Effects pack. This collection features a dynamic range of high-quality sounds, from intense metal friction and powerful slams to the deep rumbles of rolling metal and the gritty sounds of machinery starting up. Perfect for adding a raw, industrial feel to your game, film, or sound design project, these effects bring realism and energy to every mechanical interaction. Whether you’re designing epic machinery sequences or crafting immersive industrial environments, this versatile pack will enhance your project with the authentic sounds of metal in motion.
Features:
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.
A Sound Effect is an excellent resource for us to keep our animated films sounding unique and exciting.
A Sound Effect is a great asset to have discovered.
We found the site very easy to navigate, purchasing and downloads were effortless and the effects themselves are awesome! Asbjoern has done us all a great service.
We’ll definitely be back!
There are many great independent sound effect libraries available these days. The main problem with having so many, is keeping track of them!
A Sound Effect is a great hub, and is one of the first places I visit to look for sounds by category or genre. I started coming here to see if I could find libraries that I knew I had heard, but forgot WHERE I had heard them.
And in the process discovered libraries I never would have found otherwise. Great work! Keep it up!
We're always looking for new sounds to mangle, so when A Sound Effect had a holiday sale, I tried them out.
The purchase experience is really smooth and quick, and delivery is almost instant.
I'll definitely come back to them again in the future!
A Sound Effect is a wonderful resource for indie sound effects libraries. On top of that, it has some of the finest sound design, film and game audio interviews!
I often need very specific types of sounds so I've become a big supporter of independent recorders.
Until now I've always had to go to their individual websites. Now I can find them all in one place.
And, Asbjoern is great to work with!
A Sound Effect is a well curated boutique sound effects shop and a great place to find industry interviews and learning resources.