sound particles sound effects tool Asbjoern Andersen


How do you create the sound of, say, a battlefield with 10.000 sounds? One clever way could be to use Sound Particles: It's a fascinating tool to craft sonic scenes of epic proportions with ease, created by Nuno Fonseca. But just how does it work, what's the story behind it - and why is it so groundbreaking? We asked Nuno Fonseca to share the story:
Written by Nuno Fonseca
Please share:
Animal Hyperrealism IV Is Here!

Some of you have probably already have heard of Sound Particles, a strange 3D audio software that is being used a lot on epic Hollywood movies (full list here). But what is Sound Particles?

Sound Particles

 

Wouldn’t it be nice if we could use particle systems with sound? Creating thousands of small sounds that together create the illusion of something great

12 years ago, I realized that the most interesting visual effects I was seeing in movies were using particle systems – a well-known CGI technique where thousands (or even millions) of small points create the illusion of fire, dust, smoke, fairy dust, desert storms, etc. And I thought “wouldn’t it be nice if we could do the same thing with sound? Creating thousands of small sounds that together create the illusion of something great”. But that was just an idea, like so many other we have in our lives, and time went by. In 2012, I had finished my PhD and since no one was using particle systems for audio, as a computer nerd that I am (this face doesn’t fool anyone!), I decided to create my own particle system software for audio, and that was the beginning of Sound Particles…

To those who don’t want to read the entire article to know what Sound Particles is able to do, let us see a small example – Imagine that you want to create the sound of a battlefield: You open your DAW, and then you start adding sounds – an explosion here, another explosion over there, some impacts, some screams, guns, etc. Probably, after several hours you may end-up with 50 sounds playing at the same time.

[tweet_box]Sound Particles: Imagine – and create – thousands of sounds around you:[/tweet_box]

With Sound Particles you can say: give me 10 000 particles (sound sources) spread over 1 square mile, go to your sound library and pick up 200 war-related sounds (each particle will randomly reproduce one of those files), add some random movements and random audio effects, and render the result in 7.1 – everything in a few minutes.

A battlefield with 10 000 sounds…

 

Particle Systems

Particle Systems is a technique widely used in Visual Effects (VFX) and Computer Graphics (CGI) that was originally created by William Reeves, at Lucasfilm, for “Star Trek II: The Wrath of Khan” (yes! Lucasfilm also works for other movies besides Star Wars). And since then, this technique is used every time you see CGI fire, rain, smoke, dust.

A particle system will create and manage every single particle, having only a few parameters for the user to control the desired effect

Instead of having an animator to animate each rain drop or each grain of smoke or dust, a software component (particle system) will create and manage every single particle, having only a few parameters for the user to control the desired effect.
 

This approach has 3 big advantages:

Productivity – the animator doesn’t need to worry about every single element. By controlling the parameters of the system, you can control everything, independently of having 100 particles or 100 000 particles.

Scale – Even if you had a big animation team, you were still limited to the amount of things that you can animate manually (for instance, there is a scene on the last “Hunger Games” movie with 250 million particles).

Organic results – even if you have the time to animate all elements of the scene (e.g. rain), you will probably not end-up with a good final result – the animator will animate a few rain drops, and then duplicate or copy/paste them, and the final result will lack something… some true randomness.

A typical use of particle system in visual effects (VFX)

 

So what does it sound like?

Here are some examples created by Sound Particle users:


 

Sound Particles

Sound Particles is a 3D CGI-like standalone software for audio post production – imagine Maya or Blender, but for sound – you start with an empty space; instead of 3D models, you position sounds on the 3D space; and instead of virtual cameras, you use virtual microphones that capture the overall sound of things. For instance, in the following image, each point represents a particle (a sound source) and the arrows represent a 5.1 microphone (which can also be animated, moving thru the scene).

Sound sources and virtual microphones

 

The virtual microphone concept also makes the system agnostic in terms of output

You will always need at least one sound source (to have some sound) and at least one virtual microphone (to be able to capture the sound of the scene). Actually, the concept of the virtual microphone is quite interesting – not only you are able to get the distance attenuation, propagation delays, and Doppler, but this concept also makes the system agnostic in terms of output. You can simply change the mic format, and everything is re-render for the new format.

Particles Group

When you use a particle group, there are several things that you can do…

Number of particles – how many sound sources do you want to use? 20? 10000?

Original Sound Files – which audio files do you want to feed the particles? If you import a single audio file, all thhe particles will play exactly the same. If you import several files (10, 500, …), each particle will randomly select one of the available audio files, and reproduce the file from start to finish.

Position – Where do you want to create the particles? Inside a box, on a circle line, on the surface of a sphere? For instance, if you want to recreate a stadium, probably the shape of a stadium could be a good starting point.

Movement – Sometimes you want particles to stay still, but sometimes you want particles (sounds) to move around (rotating around, moving left-to-right, random directions, random velocities, etc.).

Audio Modifiers – If you have 100 particles and you import only 5 files, then each audio file will be reproduced by more than one particle, which is not a bad thing, but it could be even better if we could create variations of the original files, to get diversity. That is the goal of audio modifiers, random audio effects that slightly change the sound of each particle. This could be simple things like random gains (some particles play louder, others softer), random delays (some particles start playing later on), random filters (random EQ in each particle), random pitch-shifter, or even granular synthesis (instead of reproducing the entire audio file, each particle only reproduces a small random time slot of the audio).

Besides particle groups, you can also use a particle emitter, an object that creates particles at a constant rate (e.g. creating 20 particles per second, during 30 seconds).

To recreate a stadium: 10 000 particles spread over the surface of a cylinder, with a virtual microphone (Dolby Atmos 9.1 bed) slightly off center.

 


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


Trending right now:

  • Bundles Mattia Cellotto – Complete Bundle Play Track 13100+ sounds included $1,162

    Mattia Cellotto’s extraordinary sound libraries are some of the most popular releases in independent sound effects – and here’s your chance to get them all at a nice discount. Here’s what’s you get:

    NEW: ANIMAL HYPERREALISM IV contains animal vocalisations – from hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, to brown bears, pheasants, wildebeests, African wild dogs and many more. Features 2000 individual sounds in 294 files.
     

    CATACLYSM is a collection more than 1400 sounds in 400+ files of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.
     

    ANIMAL HYPERREALISM VOL I is a library containing themed animal vocalisations & sounds, from real to designed creatures totaling more than 1300 individual sounds in 290 files.
     

    ANIMAL HYPERREALISM VOL II is a library containing themed animal sounds & vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.
     

    ANIMAL HYPERREALISM VOL III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.
     

    METAMORPHOSIS is a huge collection of recorded source, synthesized material and hybrid sounds – more than 2300 sounds total.
     

    GLACIER ICE is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.
     

    POLARITY delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs.
     

    ULTRASONIC DRY ICE is a library containing over 600 sounds themed metal resonances, scrapes and all sorts of weird.
     

    ROCKS MOMENTUM 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.
     

    WATER VOLUMES delivers you over 300 sounds of natural hot-springs, bubbles, and liquids of various densities boiling under the effect of dry ice.
     

    METAL GROANS AND SLAMS is a library for which metal was kicked, hammered, bowed and… induced to vibrate through feedback loops?! The collection features 346 unique sounds recorded through field trips in US, UK and Italy.
     

    CRUNCH MODE & THE BORAX EXPERIMENT are also included as a bonus: Crunch Mode features 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust & frozen goods, and The Borax Experiment gets you 158 squishy, gory, slimy, gooey SFX.
     

    15 %
    OFF
    Ends 1759874399
  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    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.

    15 %
    OFF
  • Bundles The Vault – The Ultimate RTSB Bundle Play Track 29683 sounds included, 2459 mins total $1,159

    The whole 9 yards.
    Comprised of 11 heavy hitting libraries, this bundle includes SEISMIC CORE, OVERKILL, 4 ELEMENTS, COLLISION, INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all ELEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY:
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI FI:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    INTERACTIVE:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


    COLLISION:
    The ultimate sound effects library for massive impact sounds. Stingers, crashes, hits, whooshes and fully designed impact effects.


    4 ELEMENTS:
    Harness the raw power of fire, water, earth, and air with over 3000 elemental sounds crafted for limitless creativity.


    OVERKILL:
    Unleash pure audio carnage with OVERKILL – a brutally detailed 5.7 GB sound library featuring 3390 hyperreal gore sound effects across 607 files.


    SEISMIC CORE:
    Unleash raw sonic power with SEISMIC CORE – a meticulously crafted 1.62 GB sound library featuring 548 impact-driven sound effects across 108 files.


    25 %
    OFF
  • 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.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.


Latest releases:

  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, foley, mechanical and electrical sounds. It is only available in UCS.

  • PLANES & HELICOPTERS contains flybys, takeoffs, and landings of 13 aircraft models and 5 helicopter models, including small and medium-range passenger planes, private jets, tiny planes and firefighting aircraft. Recorded as close as possible to the aircraft, in airports. You’ll find turbojet, turboprop, and propeller-powered aircrafts. You’ll also find military and civilian helicopters sound effects.
    The sounds can be used for a realistic purpose but you can design spaceships or futuristic vehicles.

    13 %
    OFF
  • Car Sound Effects Lada Riva 1980 compact car Play Track 218 sounds included, 51 mins total $65

    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 only available in UCS.

  • Electricity Sound Effects Fridge Hums Complete Bundle Play Track 60 sounds included, 130 mins total $24

    A comprehensive fridge hum library with 60 sounds / 2+ hours of hums, buzzes, beeps, industrial room tones, clicks, drips and more

    20 %
    OFF
  • Helicopter Sound Effects CH-47 Chinook Helicopter Play Track 40 sounds included, 46 mins total $80

    This library delivers the raw power of this legendary military transport helicopter. Originally recorded for the acclaimed Netflix series Money Heist: Part 5, this library captures every rotor, engine, and maneuver with pristine detail and fidelity—now available for your own productions.

    From the thunderous rotor blades slicing through the air, to the deep roar of its twin turbines, and the massive fly-bys that shake the ground, this collection delivers 46 minutes of sounds from one of the most iconic helicopters in history.

    Recorded using a multi-mic setup, every nuance has been preserved – from the hurricane-like rotor wash to the natural echoes bouncing across the runway and hangars. This library is a perfect fit for war films, military documentaries, AAA video games, or any production in need of authentic and cinematic helicopter power.

    What’s inside:

    • APU start ups, takeoffs, landings, and hovering sequences.
    • Close and medium imposing fly-bys
    • Interior and Exterior perspectives
    • Fully edited and UCS-compliant metadata for fast and easy search

    With CH-47 CHINOOK, you’ll have a rock-solid, versatile, and epic sound resource at your fingertips – ready to take your projects to the next level.

    Note: The SoundCloud demo contains radio communiactions and some cockpit switches. These are not included.

    20 %
    OFF
Need specific sound effects? Try a search below:


Microphones

Regarding virtual microphones, you can select the traditional mono (omni, cardioid, fig-of-eight), stereo pairs (XY, MS, ORTF, Decca Tree), Ambisonics (up to 6th order), multichannel (5.1, 7.1, Dolby Atmos 9.1 bed, 11.1/13.1, 12.0), or even create your own custom configuration. For instance, last year, there was a play in NYC, with actor Ed Harris, where rain had a significant role, and they used Sound Particles with a custom 20 channel virtual microphone, where each channel corresponded to the exact position of the 20 speakers of the theatre, allowing a perfect 3D reproduction of the virtual scene. And even if they wanted to replicate that in a different room, with a completely different speaker layout, they would only need to change the mic settings and re-render everything again.

a few multichannel microphones you can use…

 

Other applications

Although most people use Sound Particles with its particle systems features, you can actually use it with single individual sounds. For instance, many people love its Doppler.

Also, a lot of people are using it for VR, due to the ability to import videos (including 360º videos) and actually position and animate sounds on top of the image, by simply dragging the position of the sound with the sound (Sound Particles was probably the first software to allow this). And, you can even use key-frame animation (automation) to animate everything.

Positioning sounds and animating them on a 360 video.

 

Epic, but detailed

When you think on the concept of using thousands of sounds, most of you would automatically think “that will be a big noise-like mess, right?”. Well, it depends… Most of the time, you want both that sense of many things happening, but you also want sound detail. Imagine that battlefield scene…

Most of the time, you want both that sense of many things happening, but you also want sound detail

On a true battlefield, you will have thousands of sounds (1000 soldiers, each one doing several sounds with their weapons, boots, talking, impacts, etc.). But if you play 200 war-related sounds on your DAW, you will have a very bad experience – a noise-like experience. So, what is the difference? Well, on the battlefield, 99% of those thousands sounds will be highly attenuated, since they are happening at a distance. And then you have only some few sounds actually happening close to you – thousands of attenuated sounds to give the sense of epic scale, and a few sounds close to you to give you detail.

The same happens with Sound Particles. If you create 100 particles positioned on a circle around you, by default, all sounds will have the same amplitude, and probably will end up with a big noise-like sound (sometimes, you want noise-like sounds). But if you use a rectangle (spreading sounds over a rectangle with 1-mile length), you get the same natural behaviour that you get from the actual field. Even with 10 000 particles there, doesn’t matter where you place the microphone, you will always have only a few particles near the microphone.

Even with 10 000 particles spread over a square mile (left image), if you zoom in, you noticed that only a few sounds are actually near the microphone (right image).

 

In conclusion

The most interesting thing about creating Sound Particles is that when people start to understand its concept, their imagination starts to sparkle with ideas (“what would be the sound if I …”).

For me, the current version is only the starting point (I confess I have a list of 200 additional features I want to add in the future, but days only have 24 hours). And if you ever need anything, don’t hesitate to email us… really!

PS – The software is free for schools, teachers and students
 

A big thanks to Nuno Fonseca for this in depth introduction to Sound Particles! Find out more about it here.
 

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:

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    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.

    15 %
    OFF
  • 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.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

  • Inside an airplane cockpit, we captured control manipulation sounds (knobs, levers, switch…), alarms, and ambiences.

    Recorded from a 737 cabin, with the help of a certified pilot. Get maneuver sounds with original and ‘cleaned’ version (from background noise); but also ‘loopeable’ ambiences. See file list.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, foley, mechanical and electrical sounds. It is only available in UCS.

  • PLANES & HELICOPTERS contains flybys, takeoffs, and landings of 13 aircraft models and 5 helicopter models, including small and medium-range passenger planes, private jets, tiny planes and firefighting aircraft. Recorded as close as possible to the aircraft, in airports. You’ll find turbojet, turboprop, and propeller-powered aircrafts. You’ll also find military and civilian helicopters sound effects.
    The sounds can be used for a realistic purpose but you can design spaceships or futuristic vehicles.

    13 %
    OFF
  • Car Sound Effects Lada Riva 1980 compact car Play Track 218 sounds included, 51 mins total $65

    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 only available in UCS.

  • Electricity Sound Effects Fridge Hums Complete Bundle Play Track 60 sounds included, 130 mins total $24

    A comprehensive fridge hum library with 60 sounds / 2+ hours of hums, buzzes, beeps, industrial room tones, clicks, drips and more

    20 %
    OFF
  • Helicopter Sound Effects CH-47 Chinook Helicopter Play Track 40 sounds included, 46 mins total $80

    This library delivers the raw power of this legendary military transport helicopter. Originally recorded for the acclaimed Netflix series Money Heist: Part 5, this library captures every rotor, engine, and maneuver with pristine detail and fidelity—now available for your own productions.

    From the thunderous rotor blades slicing through the air, to the deep roar of its twin turbines, and the massive fly-bys that shake the ground, this collection delivers 46 minutes of sounds from one of the most iconic helicopters in history.

    Recorded using a multi-mic setup, every nuance has been preserved – from the hurricane-like rotor wash to the natural echoes bouncing across the runway and hangars. This library is a perfect fit for war films, military documentaries, AAA video games, or any production in need of authentic and cinematic helicopter power.

    What’s inside:

    • APU start ups, takeoffs, landings, and hovering sequences.
    • Close and medium imposing fly-bys
    • Interior and Exterior perspectives
    • Fully edited and UCS-compliant metadata for fast and easy search

    With CH-47 CHINOOK, you’ll have a rock-solid, versatile, and epic sound resource at your fingertips – ready to take your projects to the next level.

    Note: The SoundCloud demo contains radio communiactions and some cockpit switches. These are not included.

    20 %
    OFF

   

Leave a Reply

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

HTML tags are not allowed.