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Home Sound Effects

Studio Obsidian

Nathan Moody is a sound designer and field recordist who has worked on games, software, independent films, podcasts, and interactive installations for nearly two decades. Studio Obsidian is the umbrella organization for his sound design practice, music mastering studio, and record label. His sound libraries have been used in games, horror movies, science fiction epics, award-winning documentaries, and more. He has run the influential Noise Jockey sound design blog since 2009.

  • Bundles Studio Obsidian Complete Bundle Play Track 10000 sounds included, 1000 mins total $416

    Own the entire Studio Obsidian library, over 17 hours’ worth of 10,000 sounds sculpted by sound designer Nathan Moody. This bundle includes:

    ANALOGUE ORDNANCE: Science Fiction Weapon Construction Kit

    SHIPSCAPE: Shipboard Ambiences

    METALMOTION: Moving Metallic Textures

    ULTRASQUISH: Unique Ultrasonic Gore

    AEOLUS: Dark Wind Textures

    METALLITRONIC: Vibrating Metal Textures

    SIGIL: Dark Electro-Acoustic Textures

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  • Firearms Sound Effects Analogue Ordnance Play Track 6300+ sounds included, 293 mins total $120

    Analogue Ordnance is a massive construction kit for science fiction weapon sounds, made entirely with hardware synthesizers, mastered entirely in the analogue domain, and with more variations per sound than any library of its kind. Absolutely no software plug-ins of any kind were used in its creation, except for its collection of ready-to-use designed sounds to show what can be done with the library’s constituent parts.

    Masterminded by sound designer Nathan Moody, this library’s unique sonic language delivers about five hours of material, pushed hard through op amps, transistors, tubes, and transformers. Boutique and unique, customized synthesizer modules were used in conjunction with mastering-grade studio hardware to create sounds that range from retro and cute to modern and devastating.

    Sounds are organized into mechanical, thump, body, tail, and charge-up groups for truly modular weapon construction. Each group has six to eight “banks” of related sounds, many with intensity (light, heavy) and duration (short, medium, and long) options. Nearly all sounds include 16 variations. In addition to the construction kit elements, some fully-designed weapon sounds are provided (using only the sounds from the construction kit), designed by Nathan Moody, Chase Steele, Axel Steichen, and Sergio Ronchetti. 

    But the flexibility doesn’t stop there. Reversing the sounds suddenly turns charge-ups into body elements, and vice versa. Each group has some frequency overlap with the others, so they can be mixed interchangeably outside of their labeled or intended uses with filtering and time/pitch manipulation. While the sounds are designed to be layered with themselves, this library plays very well with others, providing thousands of sweeteners to “tech up” any near-future gun or projectile-based firearm, magical attacks, superhuman abilities, or even user interface elements.

    Add some hardware to your warfare. From concealable stun pistols to orbital artillery, Analogue Ordnance provides a fresh injection of new source material for your sci-fi weapon designs.

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  • Environments & Ambiences Shipscape Play Track 22 sounds included, 82 mins total $60

    Shipscape is a sonic exploration of a World War II Victory Ship, an ammunition freighter that later saw use as a commercial freighter and was ultimately restored to serve as a floating museum and event space. It’s perfect for building space station, starship, industrial, naval, submarine, and factory environments. 

    The SS Red Oak Victory, built in 1944 in, and now returned to, Richmond, California, is a vast steel space with great room tones and objects. Its blast-proof bulkheads and double hull transmit and reflect sound in wild ways. No one has ever recorded in this location until now.

    While there are some prop and object recordings, this library’s core focus is long ambience recordings (5 – 13 minutes in length). This UCS-compliant library was recorded with a combination of a Sennheiser and Schoeps microphones, and contains both stereo and quad recordings.

    Nearly an hour and a half of recordings cover its four-story engine room, long and narrow shaft alley, massive cargo holds, and bridge. Some recordings are subtle room tones, while others feature distant, ominous booms and clanks transmitted through its cargo bays, hull, and bulkheads. 

    Explore this fascinating environment with Shipscape, a library released in celebration of the SS Red Oak Victory’s 80th birthday.

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  • Metal Sound Effects MetalMotion Play Track 2000+ sounds included, 239 mins total $120

    MetalMotion is a sound design construction kit that contains four hours of moving metal mayhem: clicks and clanks, rolls and drags, wronks and squeals, scrapes and rattles, ranging from from tiny to monstrous. Nathan Moody’s unique performances with unusual combinations of props produce everything from Foley-like movements to intense groans and howls.

    Whether you’re covering a robot’s movements, sweetening weapon Foley, making crafting or pick-up sounds in a game, placing unusual layers beneath a kaiju’s roar, or crushing a submarine with undersea pressure, this collection covers the full range of subtle to raucous. Each file has many performance variations for creative choice and game audio asset creation.

    While there are some tasty impacts within, this library’s true focus is on characterful movements: handling, rummaging, opens, closes, ratchets, swirls, rolls, drags, drops, spins, rubs, zuzzes, and bows. Metal containers, filing cabinets, modern appliances, vintage (and very rusty) tools, cymbals, bells, grills, plates, bars, rods, and tubes, and many other props lent their voices to this collection.

    This UCS-compliant library was recorded with a combination of standard, contact, and ultrasonic-capable microphones through Millennia preamps. Sample rates vary based on the amount of ultrasonic content in each file. The audio files are mastered for realism, ready for extreme processing and pitch shifting of your own, but still useful in more grounded contexts.

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  • Funny / Comedy / Cartoon Ultrasquish Play Track 400+ sounds included, 40 mins total $40

    Ultrasquish is an ultrasonic-rich library of squishes and squeezes, optimized for radical pitch shifting. It contains around 40 minutes of 192-kHz, UCS-compliant, icky goodness. Each file contains long takes with many variations, ideal for interactive content. From silly squishes to horrific scenes, Ultrasquish simply oozes usefulness.

    The performances of squished and squeezed water, gel, goo, and air begin as sharp, crisp, and immediately useful assets for representing cartoony action, sticky props, mud, blood, viscera, critical hits, or finishing moves. But once pitched down, they reveal creature growls, monstrous heartbeats, gurgling zombie breaths, gloopy footstep sweeteners, colossal digestive tracts, slimy monster movements, and bubbling alien slimescapes. A set of designed sounds are included to showcase the potential uses of the library, and for immediate use in quick-turnaround projects.

    All sounds were recorded in extreme close-up perspective with both a hypercardioid microphone and an ultrasonic-capable omni microphone, blended together for a punchy, full-range tone while preserving ultrasonic detail (reaching as high as 70 to 100 kHz, depending on the prop or material being recorded).

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  • Drones & Mood Sound Effects Aeolus: Dark Wind Textures Play Track 45+ sounds included, 154 mins total $40

    Aeolus is a collection of gritty and eerie sound design elements performed entirely by intense winds. These recordings were made on custom-made wind harps, handmade props, barbed wire fences, telephone poles, and other found objects. It is utterly unlike a normal wind library.

    This collection of layers and elements of howls, drones, moans, creaks, rattles, clatters, and clanks provides rich material for the creation of unsettling ambiences, eerie presences, spooky room tones, and textural sweeteners for realistic winds. Aeolus is filled with conveniently long takes of piano wire, power lines, barbed wire, and other found and prepared objects that rumble, chitter, chatter, resonate, and whistle, in both gusty and sustained winds. Its sounds are perfect for horror scenes, magical effects, straining force fields, steampunk ambiences, extreme weather, high desert dramatic tension, or rusty post-apocalyptic soundscapes.

    This UCS-compliant sound library is not a pure field recording collection; it contains lengthy recordings that are both minimally processed and extremely time- and pitch-altered. Some recordings lasted overnight, then reduced to mere minutes, remapping sound events into unfamiliar cadences or into/out of human hearing range. 

    Aeolus includes over two hours of raw recordings and twenty additional minutes of designed sounds from the original recordings, ready to use in a project or to serve as a launchpad for further inspiration.

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  • Drones & Mood Sound Effects Metallitronic Play Track 230+ sounds included $80

    Metallitronic is sound designer Nathan Moody’s latest collection of intense textures, a library of nearly three hours’ worth of metallic membranes and objects excited by electronic signals.

    Metallitronic was created using advanced synthesis techniques played back through various transducers into cymbals, gongs, bowls, steel plates, prefab metal buildings, and other resonant metallic objects, close-miked in stereo with extended-frequency-range microphones. This collection radically expands a sound designer’s palette of stressed-metal sounds, horror and tension elements, crystalline creaks and groans, unsettling background atmospheres, rattling vehicular interiors, creature sound sweeteners, the sound of massive machinery, earth-shaking rumbles, and stochastic, complex rhythms.

    Some textures let the complex synthesizer textures shine through – intense on their own, even if they weren’t amplified through metal – but the primary focus is on metallic drones, hits, pings, stresses, groans, wails, resonances, rattles, and unique timbres that can be layered into almost any project. The scale of the sounds ranges from detailed to overwhelmingly massive. The sounds invite aggressive filtering and extreme pitch shifting.

    Every sound is recorded in stereo at 24 bits, 192 kHz, and many sounds have ultrasonic frequencies. This library includes nearly three hours of recordings, all fully tagged with metadata. Multiple articulations are ganged into single files for convenience and organization.

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  • Drones & Mood Sound Effects Sigil: Dark Electro-Acoustic Textures Play Track 600+ sounds included $60

    Sigil is a unique library of dark, gritty, raw, and eerie textures and tones made from one-of-a-kind handmade electro-acoustic instruments and found objects created by sound designer and musician Nathan Moody.

    Sigil provides an edgy set of layers that are rich with organic complexity: Skittery bows on handmade string instruments; “prepared” string tones and textures, bowed and rubbed springs under tension; salvaged rusty metal tubes; perforated steel gongs; aluminum water bottle bells; and deep, resonant handmade percussion instruments. Textures include chugs, shrieks, groans, drones, bounces, peals, and rattles. The sounds range from blissfully musical to horrifyingly atonal, and are equally at home lending an uneasy tone to either avant garde musical works or multi-layered sound effects, especially in thriller or horror genres.

    The organic nature of the Sigil library means that its sounds hold up well to extreme processing like pitch shifting and granular resynthesis. The handmade nature of the instruments used means that there’s no other library quite like it.

    The recordings were made with a variety of pickups, contact microphones, and traditional microphones, through various high-end “character” mic preamps selected uniquely per microphone and per instrument. Full details are in the library’s documentation.

    This collection was recorded at 24 bits, 96 kHz and includes over three hours of recordings with more than 600 individual sounds, all fully tagged with metadata. Multiple articulations and voicing are ganged into single files for convenience and organization.

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