Home Mechanical Sound Effects Page 37
The Master Gun East LMT M4 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 IWI Galil ACE Gen II 7.62×39 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the IWI Galil ACE GEN II 7.62 with a suppressor attachment and subsonic ammo. Both the suppressed IWI Galil ACE GEN II 7.62 and subsonic ammo 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 & subsonic 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 ACE Gen II 308 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting 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.
All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Pluggy 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.
Play, Stop, Fast Forward and Fast Rewind. Loading and unloading. Buttons and switches!
A collection of tape or open reel machines from the 70s to 00s. Machines and players that utilized reels or tapes to work. From cassette players and VCR to professional audio and video equipment. Mechanical sounds and motorized drones!
Recorded and edited both in stereo and mono.
The Master Gun HK416 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the HK416 with a suppressor attachment. The suppressed HK416 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 Stoeger Old Coach 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 FAMAS F1 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting 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-74 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 AK-74 with a suppressor attachment. The suppressed AK-74 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 AK-12 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-103 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 FN SCAR 16 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the FN SCAR 16 with a suppressor attachment. The suppressed FN SCAR 16 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 Remington 870 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.
All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Pluggy 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.
The Master Gun Genesis-12 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the Genesis-12 with a suppressor attachment. The suppressed Genesis-12 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 Beretta 1301 Mod 1 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the Beretta 1301 MOD 1 with a suppressor attachment. The suppressed Beretta 1301 MOD 1 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 TTi Glock 17 Combat Master 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting 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 HK VP9 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 HK VP9 with a suppressor attachment. The suppressed HK VP9 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 HK USP45 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 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting workflows.
In addition to the unsuppressed shot recordings, we’ve also sampled the HK USP45 with a suppressor attachment. The suppressed HK USP45 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.
Dive into the world of craftsmanship with our Hand & Power Tools sound effects pack, featuring 69 meticulously recorded audio clips. Perfect for filmmakers, game developers, and audio enthusiasts, each sound captures the authentic hums, drills, saws, and impacts of various tools. From precise hand tools like hammers and screwdrivers to powerful electric tools such as drills and grinders, these versatile sounds add realism to workshop scenes, construction sites, and DIY projects. Ideal for enhancing action-packed sequences, crafting montages, or creating immersive industrial environments, this collection offers a range of tool sounds and atmospheric details. Immerse your audience in the dynamic sounds of craftsmanship and elevate your projects with our comprehensive library of hand and power tool sound effects.
Visit our full range of SFX packs at www.amplar.io
The Master Gun HK UMP45 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.
Our raw shots features a total of 28 channels including 13 Stereo and 2 mono 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 4 audio channels with 1 Stereo and 2 mono sources, including the Sanken CO-100k which captures frequencies above 100kHz for extreme pitch shifting 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 FN 509 LS Edge 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 FN 509 LS Edge with a suppressor attachment. The suppressed FN 509 LS Edge 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 RPK 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 RPK with a suppressor attachment. The suppressed RPK 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 Tavor X95 Spear 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 IWI Tavor X95 with a suppressor attachment. The suppressed IWI Tavor X95 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.
Want sounds of buttons, switches, levers or gears - and other mechanical sound elements that clink, clank, whir, squeak and grind? These mechanical sound effects libraries offer you an extraordinary toolbox of recordings - from the tiniest gears to gigantic bucket-wheels, and everything in between. Recorded from a wide range of perspectives and featuring both construction kit elements and designed sounds, these sound libraries come in handy for any project that calls for mechanical sounds, or as sonic building blocks when designing robots, motors, machines and other contraptions that call for that mechanical sound.
Clank, whir, beep, click, hiss, buzz, hum, rattle, screech, thud, squeak, crackle, pop, sizzle, grind, roar, bang, snap, creak, chime
Q: What are some of the most popular mechanical sounds?
A: Click to sort the category by most popular mechanical sound effects libraries
Q: Are there any mechanical sound libraries on sale right now?
A: Click to sort the category by mechanical sound libraries on sale
Q: How do I download the mechanical sounds?
A: Add the sound libraries you're interested in to the cart, and complete the checkout - you can then instantly download your chosen mechanical SFX.
Q: Are these sounds royalty free?
A: Yes, they're royalty free, and no attribution is required
Q: Who has recorded and designed these sounds?
A: They're created by the independent sound community, and have been recorded by some of the best recordists and sound designers on the planet. There's a constant flow of brand new sound libraries coming from the community, giving you the absolutely freshest sound effects available anywhere. Oh, and by getting sounds from the community, you support individual sound designers and sound recordists – that’s a pretty cool thing too.
Expand the timbre of your horror violins and cellos with CIRCUS, a sinister sample pack featuring 180 WAV sounds of screeching or high-pitched string noises, perfect for horror music and dark sound design.
This collection offers a curated selection of screeches, high-tension tremolo, heavy jeté strokes, dark demonic textures, finger patterns, chaotic string elements, clock loops and bow accents.
Create haunting atmospheres, perfect for horror, thriller or experimental soundtracks. Every element has been designed to unsettle and disturb, blurring the line between music and noise.
The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.
The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.
Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.
A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.
Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.
A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.
Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.
Keywords:
Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast
Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.
Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.
Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.
From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.
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.