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Home Sound Effects

Sound of Essen

Sound of Essen is a blog and sound effects library label offering high class sound recordings from the city of Essen. It started in 2017 as an official project for the European Green Capital 2017. Always on the search for sound – underwater, in machines, vehicles and nature – sounds were downloaded from over 70 countries in 2017. In 2018 we decided to put up our first full sound effects libraray for sale usable for game audio (lot’s of loops) TV, art and audioplays. More libraries are in the making.

  • This library contains sound from 23 multi-miced kinetic machines and wounderous apparatus split into mixdowns and construction kits of each machinery.

    The mechanisms have been designed and build by and recorded in collaboration with the kinetic artist Willi Reiche in a quiet setting at the Kunstmaschienenenhalle.

    Spinning gears, squeaky leather belts, grinding metal, humming motors, tonal elements and rattling parts construct an imaginative factory ambience. It can be perfectly used to design a magical lab, an inventor workshop or a steam punk industrial complex. Of course any tiny to big gear and machines can be brought to live with these sounds. You can easily layer different parts from various machines to create the desired mood and characteristic of your visuals or story.

    There are both electric machines driven by servo motors and machines that have to be handled by hand. Additional emf content has been captured from the electronic devices.

    Gear used: Up to 10 microphones have been used on each machine, including Schoeps MK41 / CMC1, Dpa 4060, Neumann KMR81i, Earthworks QTC50, AKD D112, Lewitt 540s, Ambient ASF1 and EMF microphones.

     

     

     

     

  • This library features a fine selection of Eurasian Mammals. The animals have been recorded both, in the wild and at animal care centres across Germany.

    The most prominent and unique animal sounds in this library are probably squeaky juvenille garden dormice, grunting boar and sniffing hedgehog.

    Also impressive recordings from deer rut are included and close up and very clean recordings from various bats, both flight calls and sounds during feeding.

    There are plenty of rodents and other animals, check the list at the end of the text or the file list for an even more detailed overview.

    Many of the recorded animals called in the ultra frequent range and have been recorded at 192kHz with microphones like the Earthworks QTC50, that go well beyond 90kHz. These noises are perfect for pitching and other sound design, I included some slowed down sounds as examples.

    If you want to buy the library as a bundle with my libraries Eurasian Insects and Eurasian Birds, please contact me directly.

    This collection is a great pool for realistic sound design as well as a source for editing monster, dragon and dinosaur sounds.

    No animals have been harmed or scarred during the recording sessions.

    Sound of the following animals are included:

    Bechstein’s Bat, Boar, Common Pipstrelle, Common Vole, Daubenton’s Bat, Eurasian Hedgehog, Fallow Deer, Garden Dormouse, Mouflon, Nutria, Red Deer, Roe Deer, Shrew, Whiskered Bat, Wolf, Wood Mouse, and more…

    Gear used: Klover 26″ Dish, Schoeps MK41, Neumann KMR81i, DPA 4060, Earthworks QTC50, Lewitt 540, SD 744t, Zoom F6

  • This library contains dynamic, harsh, aggressive and sometimes mysterious wind sounds and strong and heavy gusts.

    I took bike trips around World War II sites on the shores of France and the Netherlands. The winds on the steep rocky cliffs as well as on the long sandy beaches are one of a kind. Especially the resonances of rumbling bonkers and swirling winds inside hides and on the concrete edges of munition depots create an atmosphere of terror, that allowed me to took a glimpse inside the soundscapes of these horrific times.

    The cliffs with the old war stuctures, the dunes, the swapping sand, the storms in the forests behind the shoreline all have a unique character and texture.

    I picked the recordings, which created images of the battlefield inside my head and described these images in the meta data. But of course this wind library can be used for any scene, that contains a strong blow of air.

    Most sounds are recorded in ORTF stereo, some were better captured in mono or with a contact mic.

     

    If you need more specific wind sounds, my library “Tonal Wind” and this library are complementing each other to a versatile tool for a broad use of wind sounds. Contact me for bundle prices.

  • This library focuses on isolated recordings of single insects, mainly from Northern Europe. While all insects have been recorded in the wild in Northern Europe, most also appear in all of Europe, Asia, North Africa and some have been introduced to America and Australia too.

    For this library I recorded various species of wild bees, wasps, bugs, cicades, grasshoppers, flys, dragonflies, butterflies, ants, sandfleas and underwater bugs. A detailed list of all species is at the end.

    You will find flybys, wing buzzes, hums, rattles, little feet, stridulations, jumps and even bites.

    Over the course of years I improved my recording of these little animals by approaching them with a set of different micing techniques, always looking for the best spots to record these small creatures, making sure not to disturb them.

    Many recordings were performed with microphones and recorders that go up to 192kHz to capture the ultra frequencies emitted by some individuals. Some grasshoppers you won’t even hear unless you pitch them down or play them slower.

    While I find their crispy, clear and often bassy sounds lovely, some of the noises of the animals can be decribed as annoying, scary, sharp or intensive.

    But besides for the original recorded species, these noises can be used to create swarms or all kind of insects or little creatures, like elves, aliens and fairies.

    In addition to the close up recordings, I added a few swarms, real and designed, a couple of ambiences and a few designed insect sounds.

    Some of the 60+ species (for details check file list):

    Apex Furrowed Bee, Big Fly, Black Tailed Skimmer, Blow Fly, Blue Winged Grasshopper, Bow Winged Grasshopper, Buff Tailed Bumblebee,  Butterflies, Purple Emperor, Honey Bee, Mosquito, Wild Bees, Carder Bee, Chelostoma Rapunzuli, Chrysogaster Solstitialis, Cloromia Formosa, Common Field Cricket, Common Green Bottle Fly, Common Wasp, Conocephalus Fuscus, Dragonfly, Drone Fly, Early Bumblebee, Eristalis Pertinax,  Eupeodes Luniger, European Orchard Bee, European Wasp, European Wool Carder Bee, False Stable Fly, Field Grasshopper, Flesh Fly, Fly of the Dead, Flying Ant, Gnat, Great Green Bush Cricket, Green Blowfly, Green Rose Chafer, Grey Backed Mining Bee, Gypsy Cuckoo Bee, Hairy Footed Flower Bee, Helophilus Trivittatus, Hornet Hoverfly, House Fly, Italian Tree Cricket, Jigger Flea, Large Bee Fly, March Crane Fly, Meadow Grasshopper,  Myathropa Florea, Painted Lady, Pale-saddled Leucozona, Red Tailed Bumblebee, Red Wood Ant, Sand Bee, Sand Wasp, Sawfly Macrophia Montana, Sceliphron Curvatum, Tritomegas Bicolor, Underwater Insects, White Tailed Bumblebee, Wood Cricket,…

  • Rare close-up recordings of a blimp engine (2x Goodyear with 154 kW) .

    A unique propeller motor with a well-known and reconizable sound.

    I was able to spend a short time during an engine test with one of the few airships in the world, a WDL blimp in Essen, Germany. The engine performed three different constant RPMs and all the transitions plus some additional rev-ups. I was able to record the noises with up to three mono mics (one on the engine and the other two a bit further away) and a stereo set up (onboard in the cabin most of the time). Check the file list for details.

    In addition I recorded one ambience with a fly-by and the cabin doors opening and closing, some knobs being pushed and the air valve operating.

    All files meta-tagged and use the UCS naming system.

  • This library features a broad variety of rain sounds.

    Interior – Inside various cars, in attics, houses, wood sheds and garages

    Exterior – In the forest, on roofs (house, cabin, car), on concrete, dry leaves, bodies of water, metal, umbrellas and more

    The single drops section is the heart of the library. There is a big amount of drips, that can be used to sweeten your rain ambience layers but also to design rain from scratch f.e. with software like Sound Particles or granular samplers. I recorded three kind of isolated dripping sounds in a studio setting:

    Single Drops – Isolated tiny to bigger drops / splashes on plenty of surfaces, from glass, dirt, grass (real & artificial), wood, stone, concrete, water, cloth, plastic to metal and more

    Multiple Drops – Clusters of water drops on various surfaces

    Pour – Small extracts of poured water on various surfaces

    Artifical Sweetener – two kind of Rainmaker and several frying tempeh (vegan variation of bacon)  sounds, that add movement and wetness to your rain layers

    If you are working with Sound Particles, this library includes a couple of projects, that you can use as is or as a starting point to create your own rain with included samples. That way you can fit your rain sounds to the exact intensity, gusts and dynamics of your picture or pictured rain.

  • Metal can be very tonal and used as an muscial instrument. For this library I used different metalic object and hit them, rubbed them, stressed them, bowed them, plucked them or made them spin.

    Among the objects that I worked with were steel wires, iron gates, a saw blade, daggers, cloth stands, aluminium boxes, bells, humming top and much more.

    You can hear the metal shring, clang, groan, purr, scream, squeak, scratch, doing, pling, wronk, bang, moo and sing.

    The inital idea for this library evolved from a sound art object in Essen, a big hollow tree trunk with some iron strings on the back. I played it many times when walking past it and eventually started a decent recording session.

    The sounds can be used to sonify bending iron gates, bridges or other objects but also as samples for producing music. Both tonal or percussive. Lots of them are also very expressive and can be used as a layer in voice design for creatures, monsters, dinosaurs or other giant living beings.

    And of course if you want to add character to any weapon (from sword to gun), a tonal element can give it a unique and recognizable audio mark.

    Most recordings were made with multiple mics, with one mic being the Earthworks QTC50, catching high frequencies and making the sfx perfect for pitching down fun.

    Other mics: Neumann 81i, Schoeps MK41, Shertler Contact, Lewitt 540s, SM57

     

  • Rivers, Streams, Brooklets, Creeks and Waterfalls recorded both above- and underwater.

    Over the past five years I constantly recorded flowing water at every opportunity. This library includes a fine selection of diverse sounds emitted by running water. From alpine mountain rivers that rush after the snow melt, brooklets jumping over rocks, natural and human-made tunnels, bubbling watersteps in streams, rapids and riverwaves to plattering waterfalls, straight concrete waste water run and groaning and hissing natural brooks.

    Some sounds are harsh and almost white noise, others are lovely and relaxing.

    I mostly recorded at night, to keep the recordings free of bird, car or plane noise.

    A broad spectrum of sounds to choose from for any film, game or audioplay scene, that needs WATRFlow. Bubbling, splattering, roaring, lively, hissing, talking and lapping murmur.

    Mics used: Earthworks QTC50, Neumann KMR81i, Ambient ASF1 & ASF2, Lewit 540s, Ambient Emesser,

  • This library features an industry standard roaster, a bean destoner, antique hand grinders, modern electro grinders, coffee makers, milk frothers, espresso machines, a french press, plenty of beans and much more. And with much more I mean lots of handling sounds & grabs from from lids, packaging, cups, spoons, sieves, pour of liquids and that kind of stuff.

    Of course it serves all your barista needs, be it in the household or in a café. But in a addition it is a fantastic sound design tool to create all kind of machinery from steam punk to futuristic motors. It also is very valuable for musicians, with a fantastic selection of roasted & green espresso beans poured, shaken and dropped on various surfaces. From a single bean to thousands of beans. Makes great percussion sounds.

    Most recording session have been in my studio, but I also visited a roasting plant, where I was able to record various machines across the stages of roasting and packing coffee.

    Some extra recordings are pouring of coffee and milk or destroying an old caffee machine.

    Mics used: Earthworks QTC50 (records up 90kHz, linear up to 50kHz), Neumann KMR81i, Schoeps MK41, DPA 4061, Brauner Phantom, Shure SM57, Contact, EMF, Lewitt 540s (very quiet for single beans dropping on the floor).

    I had some projects that needed coffee maker sounds in the past. And while there is a fantastic library with antique grinders from “The Soundcatcher” and some libraries with a Espresso Machine or a Coffee Machine, I was missing one that combines all of these sounds up to dropping a sugar cube into the coffee. So i created it myself and here it is.

  • This flamboyant and diverse library is a collection of recordings of air flows, leaks, bursts, plops, hisses, wooshes, suctions and blows.

    I started recording these noises when I needed a basis for a magic spell sound and then realized that the sounds also work very well as a layer in fly bys (or all kind of pass bys), weapons / bullets and other sci fi elements like doors & machines. And of course you can use the sounds for the objects that emitted them.

    A lot of objects were recorded that first come on everyones mind, like canned air / co2, bicycle pumps, boat pumps and the opening of soda bottles. But also more exceptional products were captured, like a fog machine, syringes, medical nebulator / inhaler and more. I also recorded quite a lot of vents, fans, hvac and some more tonal whistles or water boilers like the famous Alessi.
    There are also air releases into water, so a lot of wet textures, spray paint, desinfection spray ( and all kind of plastic bottles with various sealing caps and and and.

    One of my favourite sounds in this collection is a malfunctioning garden hose. Air flow leaked through a tiny hole and depending on the pressure my hand put on the ventile different tones and sounds occured.

    The selection offers everything from very short, to medium long sounds, loops and long air releases.

    Most sounds were recorded from multiple mic perspectives. While the directional mics deliver clean direct sounds, omnidirectional Eartworks QTC50 capture high frequency sounds up to above 80kHz, that invite to pitch or slow down the sounds and create otherworldy atmospheres or woosh sounds. Some sounds were also recorded underwater with an ASF1 hydrophone.

    The naming structure is UCS compliant.

  • Birds – Avifaunistic – Ornithology

    In this library, I gathered 250 clean recordings of songs & calls of some of the most common and some rare birds from Europe and Asia. Many of them also live in Africa (all year or during winter) and a few also live in Australia, New Zealand or America.

    These recordings are ideal to fill in gaps in dialogue (as background sweetener), create authentic landscapes, to use as a original bird voice or to create creatures from pitching & editing the recordings. Bird vocalization is great to set a mood in a game or a movie. Use the nightingale to create a romantic atmosphere or use some gulls to create a place near the water.

    The focus is on clean single bird song & call recordings.
    All recordings (except one) have been made in the nature; of wild birds. Although I used a broad variety of techniques and technic and have been out in the meadows, woods, mountains, and riverbanks often as early as 3 am, on some recordings, due to the habitat these animals live in, there are other birds or other noise (of course very low in volume) in the background. Some recordings are heavily edited, to isolate the voice, so you can place the song in any ambiance, others didn’t need any editing except a simple low cut.

    I also included a few ambiances where two or more bird species are dominant.

    All recordings have the English, the scientific (Latin), and the German name in the metadata. I also included the distribution and the habitat. That way it will be easy for you to create an authentic soundscape depending on the region and landscape you are trying to represent in your media.

    Another big part of the library is the “Build Your Own Bird” part.
    I extracted single beeps, chirps, screams & pecking and you can easily build a very own bird species from these recordings, that are named with tonal information. So it is easier to build a sad or happy vocalization. Or a robot bird. I didn’t tune the chirps to allow more natural results when creating your own species. When playing along music, you should sometimes tune the sounds to the root key, given in the name of the file.

    The 61 bird species voices included are:
    Blackcap, Black Bird, Black Grouse, Black Headed Gull, Bluethroat, Blue Tit, Bullfinch, Canada Goose, Carrion Crow, Chiffchaff, Coal Tit, Cockatiel (Escape), Common Buzzard, Common Chaffinch, Common Kingfisher, Common Firecrest, Common Raven, Common Swift, Common Wood Pigeon, Corn Crake, Cuckoo, Coot, Dunnock, Eurasian Golden Oriole, Eurasian Nuthatch, Eurasian Oystercatcher, Eurasian Skylark, European Robin, Egyptian Goose, Gardenwarbler, Goldcrest, Great Tit, Greylag Goose, Great Cormorant, Great Crested Grebe, Great Spotted Woodpecker, Greater Flamingo, Greater White-Fronted Goose, Greenfinch, Grey Heron, House Sparrow, Lesser Spotted Woodpecker, Long-Tailed Tit, Mallard, Marsh Tit, Marsh Warbler, Nightingale, Northern Lapwing, Reed Warbler, Short Toed Treecreeper, Song Thrush, Spotted Flycatcher, Tawny Owl, Tree Pipit, Treecreeper, Tufted Duck, White Backed Woodpecker, White Wagtail, White Throat, Willow Warbler, Yellowhammer

    There are also a few wings, flocks, pecking and recordings of juvenile birds included.

    Please note, I respected the flight distance of all the birds, stayed on the path, and didn’t approach nests (I built a nesting box and included a lav and a long cable, I can only encourage to do the same). The recordings were made during countless sessions in Essen, Bottrop (Kirchheller Heide), Duesseldorf (Urdenbacher Kaempe), Zwillbrocker Venn, and Oberammergau.
    In addition, I am not an ornithologist. I listened back to all recordings with the Macaulay Library to verify my classifications and checked with experts, were in doubt. I am confident, I got all of them right, but if you feel like a call or a song belongs to another bird species, please let me know.

    If you are looking for a specific bird species please check the file sheet prior to buying. While most birds have multiple calls & songs in this library, some may have one file with a single call only.

    The naming structure is compliant with the Universal Category System (UCS).

  • This mini -library contains sounds from a reptile shelter. They take in injured, negelcted or abandond reptiles and take care of them. They finance through a small zoo and due to corona had significant loss in income. 50% of the sales of this library will directly be donated to the shelter. For more information check: https://www.reptilien-auffangstation.de/

    The recordings contain sounds from 14 different species. With the focus on reptiles, it also features amphibians, mammals and birds.
    Ever needed a realistic hiss of an Arabian Cobra, the roar of a Nile crocodile, the sweet chirping of a Djungarian hamster, or the whistling sound of a Reticulated Phyton coming out of cold water? Here you go. With two mic positions in 192kHz I followed around the tails of big (Diamondback-) and small (Massasauga-) Rattlesnakes. I even recorded the purr of giant lizards (monitors).

    If you don’t need these specific animals, these growls, sizzling, and calls are a great source sounds for dragons, dinosaurs, monsters and other beasts. Also great to add as a layer in vehicle sound design or as sweeteners to add the noise of a dart frog to your jungle atmo.
    These recordings are hard to come by and my mics were nearly hit by poison, that crystalizes and stays venomous for years to come as well as they got nearly eaten by a crocodile (was very scary indeed with me at the other end of the (way too short) boom pole)

    The best part, the handling with the animals was very thoughtful. No animals were tortured or stressed. They had some great animal voices at the shelter, that didn’t want to speak during the recording session, so we let them sleep and didn’t take any animals away from their hide.

    Full List: Arabian Cobra, Diamondback Rattlesnake, Diamond Dove, Djungarian Hamster, Domestic Chicken, Domestic Goat, Nile Crocodile, Massasauga Rattler, Papua Monitor, Puff Adder, Reticulated Phyton, Ring Tailed Lemur, Yellow-Banded Poison Dart Frog and, well, a fish tank with my hydrophone with some weird electronic sounds from the heating.

  • This library features crowds from 4 to 800 people. The highlight surely is very rare to come by recordings from inside a cinema (crowd chatting, leaving, afterparty, cueing, and clapping for the movie at the premiere). But with this library, you get lots of interior and exterior recordings of applause (in churches, at concerts, performances & press conferences.
    Also, there is quite a lot of walla. Mostly in German language, there is also lots of indistinct talking that can be placed in any background.

    Most of these recordings were performed with a matched pair of Earthworks QTC50 on a stand in ab configuration, so they have a very nice stereo image and no movement during the takes.

    Some recordings feature hard to recreate crowd sounds like laughing, or camera clicking (motors) at a press confrerence, clearing throats, children applauding or playing or multiple feet walking. There is also a recording of a theatre / opera rehearsal on stage (no singing).

    I had planned a bigger crowds library, but due to Corona, my recordings in music stadiums & at sporting events got canceled. If If I record and release them at a later point, you will get them at a discount when you bought this library. I thought I release it anyway, as many editors can’t record crowd atmos and loop group atm.

  • This library is great to quickly place samples for rolling objects but also a never ending collection of source sounds & textures for all things releated to rolling, rumbling, driving, rotating and spinning.

    I wanted to cover a lot of grounds, so I have objects rolling on grass, cobblestone, concrete, tar, wood, steel, plastic, carpet …
    and these objects include cars, bikes, balls, skateboards, stones, push carts, tires, garbage cans, a buggy, a wheelchair and much more.
    In addition, there are a lot of sounds in here I already used for designing otherworldy atmos or futuristic weapons, so lots of options here.

    Most sounds are mono recordings with the mic following (or being attached to) the object. But there is also a section with bypass sounds in stereo and some onboard recordings in stereo. And not only the onboard of a car without motor rolling across different types of cobblestone, but also mics attached inside a garbage can which then was rolled through the streets.

    This library contains my go-to sounds for all things rolling and most sounds have been recorded in 192kHz/24bit with Earthworks QTC50 mics to allow a maximum pitch / slowing down action. As the library evolved and grew over different years, a broad range of mics have been used. DPA 4060s, DPA 4061, Shure SM 57, JrF Contact C Series, Neumann KMR 81i, Ambient Emesser and on a few recordings I used other sample rates like 96/24 or 48/24.

  • This is a selection of more than 30 different elevators, displaying a broad variety in sound. The whole library was recorded in 192 kHz (with Earthworks QTC50) as elevators often have high pitched metal sounds, squeaks and electrical hum up there, which makes great material for extreme pitch shifting. In addition to the omnis, which get you a very accurate impression of the space, a harsher, more direct pair of microphones were used in m/s on a lot of recordings. You could even build a surround version from these mics together.

    The library focuses on the most important sounds for games and movies, elevators going up & down as well as doors sliding open and closing. Besides, I recorded atmos, buttons and footsteps wherever possible. I also added some studio foley takes to add a selection of rattles, squeaks, metal impacts, doors etc. to create the exact elevator sound that suits your needs.

    The elevators range from a 1929 wooden paternoster, metallic freight elevators/goods lifts to a 90s futuristic Kone disc drive and 2015s all-glass cabins. Carrying a maximum of 2 people to 33 people. Recorded in universities, offices, hotels, warehouses, industry, town halls, private households, malls and many more.

    The meta-data allows you to sort by year, kg, people, brand, action and of course character.

    You like to hear it rattle, squeak, groan, grind, slide, clatter and hiss (yeah, lots of fan noise)? This is one for you.

  • There are a lot of door sound libraries but I was missing the key sounds with variations on a project two years ago. After that, I started specifically recording key and lock sounds whenever I heared an interesting door or lid. I tried to capture the four most common performances (put the key in, remove the key, open the lock and close the lock) each at different speed (slow, medium, fast). This is a selection from these recordings. Some are captured in 192kHz with Earthworks QTC 50 to capture high frequencies, waiting to be pitched down several octaves and still remaining crispy.
    There are little locks from piggy banks and caskets, wooden cabinets, metal lockers, appartment doors with plastic keys, locks on regular homes and much more.
    In addition I added a few key drops on different surfaces (mats, parquet flooring, tiles, concrete…) and jingles.

  • I went there, so you don't have to. The nerv wrecking sounds of a fork scraped across a plate, the annoying scratches of fingernails on a coated pot are as well part of this library as many similar and sometimes less unpleasant sounds.

    The major part of this library has been recorded in 192kHz with Earthworks QTC 50 microphones. Frequencies up to over 90 kHz are captured with plenty of the noises and allow for decent pitch and bend fun. Plastic, wood, metal, glass, porcelaine, syntetic leather and rubber has been used to perform squeaks, screeches, squeals, creaks, groans and scratches. Each material has been dragged and rubbed against each other in different speed and with varying pressure to make sure to get multiple variations of each sound.

    This versatile library is a rich resource and a starting point for creature sound design, iron weapon action, robotic and machine movements and many more. Also great for music production – check the demo. Anything that should make the audience goose bumps or sound old an tortured will profit from “QUEETSH”.

    Caution: some sounds might be considered unpleasent / annoying.

  • Weather Sound Effects Tonal Wind Play Track 60 sounds included, 90 mins total $42

    These sounds will sweeten and add character to your wind sounds. Lots of whistling, squeaking, howling and singing wind. From low rumbles, mid honks to harsh high frequency blows, this modular library is the perfect construction kit for creating otherwordly swirls and heavy storms.

    The sounds were recorded at the windorgan in Vlissingen(NL), at the monument Halde Hohenward and  in Zoutelande(NL) & Essen(GER).

    In addition to the original wind sounds creating tones on objects, you will get a few rattling flagpoles, waving flags and singing flag cords. And some bonus windmill sounds.

    About half the sounds are delivered in stereo, the focus though is on mono sounds. I captured the very sweetspot where the wind created unique tones. To focus on these rare events, I mostly used a single spot mic. In winds up to 48 mph you will have carefully selected mic positions for a broad variety of wind torturing different objects.

    The stereo files deliver a symphony of wind with various pitches and broad dynamics.

  • This Sound Effect Library features a hundred recordings of Kramer KL(11) Oldtimer Tractor. The tractor was built in 1955 in Germany. It is a four stroke single cylinder engine. No cabine and the Diesel motor delivers 11HP. On two bonus recordings a Lanz LK30 potato spinner was attached to the tractor.

    Recording positions include Exterior (AB, M/S & mono), On Board (At the fan-belt [sch-sch], at the cylinder-head [tok-tok], at the exhaust [pop-pop] and in a little distance to the side – also stereo-mixdowns of all mic-positions for quick editing) as well as some SFX recordings with a contact mic. The tracor performed start, stop, on, off, idle, driving and various constant speeds / rpms as well as ramps, accelerating & gear shifts. All edited and mastered for quick browsing and easy matching of the different events.

    This tractor is still being used, so if you are looking for authentic farming machinery sounds from today or from the past or want to create a unique sounding fantasy vehicle – this one is for you.

    The Farming Machine Bundle:
    You can also get this library as part of The Farming Machine Bundle, containing the files of “Kramer KL11 Oldtimer Tractor (1955) (SOE002)” and “Harvester Klaas Lexion 530 (SOE001)“, as well as 165mb of additional tractor recordings (on board mono files of the tractor Fendt 304 LSA).
  • The harvester Claas Lexion 530 Library contains all the sounds a decent harvester produces on the field in one day. We were allowed to accompany this gigantic 300+ horsepower machine on the field and document all its activities. It roars and sounds harsh and dangerous.

    Whether you are looking for realistic farm sounds or want to design a futuristic vehicle. The harvester files are ready to use or very easy to manipulate as they deliver sounds across all frequencies captured with high end equipment. Both helium-3 harvesting spaceships and apocalypse scrap transporters can be produced in just a few steps.

    In addition to the standard exterior recordings such as bypass, away and up, the library also includes on-board recordings from the cab, from the platform, as well as various mic positions such as directly above and beside the cutting knives, on the belt, at the unloading pipe and many more. In addition, there are selected foley sounds, as well as a few distant atmo sounds.

    70% of the revenue will benefit the non-profit association “Bulldogs for Kids e.V.” and by this benefit chronical ill children.

    The Farming Machine Bundle:

    You can also get this library as part of The Farming Machine Bundle, containing the files of “Harvester Klaas Lexion 530 (SOE001)” and “Kramer KL11 Oldtimer Tractor (1955) (SOE002)“, as well as 165mb of additional tractor recordings (on board mono files of the tractor Fendt 304 LSA).

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