To get the inside-story behind the trailer sound, I managed to get in touch with the team at Source Sound Inc who did the sound for them.
And in this special A Sound Effect interview, Charles Deenen, Csaba Wagner and Thomas Brewer take you behind the scenes on the Star Wars Battlefront trailer sound – and shares what it was like working with those iconic sounds.
The Star Wars Battlefront Reveal Trailer
Hi guys, please introduce yourselves:
CD: It’s a pleasure to chat to you guys. My name is Charles Deenen, Director for Digital @ Source Sound Inc. in Los Angeles, California, and Sound Sup on the SW BF trailers. Sound team consisted of Csaba Wagner, Braden Parkes, Colin Hart, Tim Gedemer, Mike Schapiro, Travis Prater, Erik Norris & Brent Burge. Mixing was done by Tom Brewer and myself. Music was a mixture between the classic Williams, Gordy’s music, and some trailer music adds. We had access to the game sounds as well as some part of the Lucas FX, so major credit also goes to Ben Minto, David J & the original SW Skywalker team. We worked on the SW BF trailers, cinematics, website and more. All-in-all over 100 short movies with an equivalent greater length than a feature film.
CW: I’m Csaba Wagner, co-supervising sound designer on the Star Wars Battlefront cinematics and trailers. I’ve been working as a sound designer for movies and games for 5+ years here in LA.
TB: I’m Thomas Brewer, Re-recording mixer on Star Wars Battlefront Cinematics and Trailers. I’ve been working in sound for Trailers, Games, Film and Television in Hollywood for more than 20 years, and I’ve been working for Source Sound for more than 13.
Star Wars Battlefront is arguably the most anticipated game in years. How did you get involved with the project?
CD: Well, I was fortunate to have worked @ EA for 9 years through which I got to know many of the wonderful folks involved with these titles. Previously I worked with this team on Battlefield trailers. You start to get a trust and short-cut language which helps speed up workflow. They knew what we could do, and that we’d take utmost care of their project. Ben Minto & Neel Upadye ended up hiring us for the Trailer Campaign, Cinematics and much more.
CW: Charles and I have been working together for several years. When he told me that I could work with him on the reveal trailer for Star Wars Battlefront, I got extremely excited, because I’m a huge Star Wars fan. I’m pretty sure I’ve seen the original trilogy hundreds of times.
TB: When Charles came on board at Source Sound, he immediately started lining up bigger and bigger titles, which lead to some fortunate timing and turning some heads… eventually opening up the conversation of this one being an option. I feel really fortunate that this one materialized for us. I couldn’t be more excited!
What’s your workflow on a project like this?
CD: CW: On the reveal trailer we had to be very careful how we approach things. We wanted to keep the characteristics of the original sounds we all know and love, but we also wanted to take a modern twist on them. Our goal was to keep the sounds recognizable but make them big, punchy, and heavy. We applied the same recipe for the other trailers as well.
Our goal was to keep the sounds recognizable but make them big, punchy, and heavy
The other important thing was to make sure the edit was clear and tactile. I carved things out for the biggest events and you only hear the things that are crucial to tell the story. The mix of the Reveal trailer (by Charles and Tom) took this even further, making things even punchier.
TB: As an example, for the reveal trailer, the designers had been doing these really great temp mixes of the effects and foley as we went along so that created a great starting base and gave us a heavy understanding of all the materials we had already laid out before us. I started working those effects against some temp music to get the timing of everything worked out until Charles edited in the final John Williams and Gordy Haab music. After that, Charles and I worked back and forth to hone the mix down to be very precise about what the ear should follow and what part of the sound was telling the story. Both the sound design and the music were so great and detailed that each could completely stand on its own.
The sound design, many times very musical and tonal, was completely capable of carrying the emotion of the scene, so the challenge became the hand off between it and the music, not making the switch between them jarring or having the mix become overwhelming if both were playing at the same time. While we originally built the session as a 5.1 mix, the initial delivery was stereo. We later went back and turned the mix into an immersive Atmos mix, which was an incredibly fun and rewarding process.
When working with a gameplay trailer such as this one, how do you strike a balance between using the actual in-game audio vs adding extra elements?
CD: CW: We had the chance to get some of the game assets that were created by the super talented Ben Minto and his team. When you work on a trailer, it is inevitable to add extra elements and / or alter the in-game sound effects to have the emotional effect that the trailer demands. With each trailer, we made sure that the characteristics of the sounds remain the same, whilst we stylized them to suit the style of the trailer.
TB: I think the key is working the in-game audio against the trailer music and using that process to tell you if the in-game effect can work in the context of the trailer. In the case of Star Wars, we had a lot of great in-game source to work with. Csaba would cut in options, and Charles and I would try the different versions in the mix to see which ones gave us the best clarity and punch.
We were very careful to not ignore very key sounds that have long been established in this franchise
At times the driving music or pace of the trailer wouldn’t allow an in-game effect to work on its own without help, so it would get redesigned in order to accomplish the same intention. That being said, we were very careful to not ignore very key sounds that have long been established in this franchise. They were as key to sonically tying the trailer to the game and to the overall franchise as the music was.
The Star Wars Battlefront Gameplay Launch Trailer
The trailer features so many iconic sounds – did you get to work with the original Star Wars movie material, or did you re-create them?
CD: We had the privilege to use some of the famous sounds from the original movies, but they were enhanced, cleaned up & remastered where needed. In many cases we used the original material as source, but then split out tonal from noise layers. Then we kept the tonal layers, and added higher fidelity noise layers. This was mainly done to give the ability to control the dense sound mix that often happened or was requested. We always tried to stay faithful, but enhanced it enough so that it punched more, slight bit more “2015”, was bigger feeling etc. This is a choice we made starting from trailer 1. We waited what the response was, and it was overwhelmingly positive. So our Path to the dark side had been chosen.
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Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total$116.66$99.17Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.
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• Triumph 600cc Dual Fuel Injection
• Aprillia RST 1000cc Futura
• A selection of bonus pass-bys and externals from a range of high performance bikes
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85cc/125cc/250cc/450cc engines
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An electric car sound library with a range of FX from the Hyundai SUV, Kona.
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It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.
Multiple FX on each track – recorded in Sydney, Australia
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car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!
Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:
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Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds includedFrom: $119From: $95.20ENORMOUS SOUNDING PERCUSSIVE HITS
CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.
With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.
CINEMATIC STRIKES – CONSTRUCTION KIT:
FLEXIBLE SOUND DESIGN TOOLKITThe Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.
PERSPECTIVE & RHYTHM
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Files: 618 • Sounds: 3708 • Size: 13 GB
CINEMATIC STRIKES – DESIGNED:
MAXIMUM PUNCH – AND THEN SOMECINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.
From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.
This package is particularly useful for filmmakers and trailer sound designers.
Files: 108 • Sounds: 432 • Size: 1.4 GBCINEMATIC STRIKES BUNDLE:
THE BUNDLE – The best of both worlds at a discounted price.
The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.
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Included sounds – keywords:
BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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A Sound Effect Turns 5:
Get wild deals on sound effects right here
A Sound Effect Turns 5:Get wild deals on sound effects right here
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Aircraft - Jet/Propeller Planes B-25 Mitchell Play Track 115 sounds included, 71 mins total$199$99.50A large collection of authentic B-25 flybys, takeoffs, landings, taxis, startups, and shutdowns with both internal and external perspectives – for a total of 71 minutes of recordings.
This library was over 8 years in the making, and is the refined result of more than 30 field recording expeditions, including one recorded aboard a B-25 during flight. All sounds have been extensively quantified with metadata (action, event length, relative speed, perspective, microphone pattern, and much more) which will make it an ideal resource for those working in audio post production.
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The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.
From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.
The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.
Here are the cars included in this library:• Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
• Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
• BMW 114i E87 – 20 files – 10 minutes
• BMW 530D E60 – 55 files – 21 minutes
• BMW F12 640D Gran Coupe – 87 files – 49 minutes
• Excavator MF 860 – 30 files – 20 minutes
• Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
• Renault Kangoo 1.6 16V – 71 files – 32 minutes
• Renault Master II 2.8 dTi – 21 files – 13 minutes
• Renault Master F3500 dCi135 – 30 files – 12 minutes
• Tractor Case II CX90 – 15 files – 10 minutes
• Volkswagen Golf II – 26 files – 13 minutes
• Other Cars – 60 files – 23 minutes
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This bundle includes 4 different libraries.
The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.
The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.
The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.
Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.
Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.
You can see the metadata and sound list below.
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From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!
This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.
Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)
These were recorded either in urban settings, countryside, or complete wilderness.Included is a set of useful synthesized, tonal, and designed winds.
The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.
WHAT’S INSIDE:
- 102 stereo files
- Highly focused and meticulously edited sounds
- Ready to use Loop
- Urban area and Wild area
- Useful Designed & Synthesized Wind Sounds
- Recordings from the Boreal region (North) in Iceland & Canada
- Recordings from the Austral region (South) in Argentina & Chile
- Recordings from Islands in Greece & Canada
- Recordings from the desert in Marocco
- Abandonned houses and shelters
- Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
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It must have been a somewhat special feeling working with the original sounds?
CW: I remember I used to make lightsaber-buzzing sounds with my mouth as a kid. To me the sound of the lightsaber is like music. So, it was amazing to finally listen to and work with those incredible sound effects.
TB: When we got to listen to many of the original sounds isolated, I was a little taken aback at the level of emotional response I had. Just listening to the breathing of Darth Vader alone made the hair on the back of my neck stand up. Many times sounds from older movies can be very dated, but most of the original sounds from Star Wars seem timeless.
CD: Since I didn’t grow up with Star Wars (as I kid I hardly ever saw movies), my experience was a tad bit different. I learned quick though, and it was incredibly fun to hear and see how Ben approached the original material. For me that’s the case with anybody’s work that we get the opportunity to dissect.
I’m happy to say that even though we recreated or replaced a fair bit of sounds, the user base experienced it as “authentic”
I feel this also gave me a “benefit” in some ways. I wasn’t emotionally attached the sounds, and would (hopefully) make choices that will make the aural experience better, vs having to stay 100% faithful, especially since the SW BF scenes didn’t all “map” to the movies with the action we were seeing (the movies are not in 1st person as an example). I’m happy to say that even though we recreated or replaced a fair bit of sounds, the user base experienced it as “authentic”
Of the sounds you had to re-create, what was one of the most interesting ones to do – and how did you go about making it?
CD: It was amazing to see how “common” a lot of the sounds started. Some of the “base” or element sounds have made it into commercial libraries over the years, so it was a challenge to find the element that would get us to 90%. Recreating the elements that made up the composite allowed us to make new movements, new POV’s etc. That said, the original Burtt composite was magic, so we tried to start with that magic as often as possible as the core element. Let’s say we went through a lot of flangers, phasers and detuned speed playback :)
I recreated some of the tonal elements of the AT-AT’s foot creak, for which I used the recording of an old oven that I had in my previous apartment
CW: Charles recreated the tonal sound of the speeder bikes which was excellent to achieve the sensation of high speed during the chase scene of the reveal trailer. I recreated some of the tonal elements of the AT-AT’s foot creak, for which I used the recording of an old oven that I had in my previous apartment. That sound is the most audible during the destruction scene of the AT-AT in the Reveal trailer.
Any personal favorite sounds or parts in the trailer?
CD: In the reveal trailer, the crash of the AT-AT sounds intimate, big, and there was one teaser (I sadly can’t recall which one) that had some great ship movements, very authentic sounding, yet 90% new. Favorite one is the Jakku Teaser where it was fully san-music. There was a 5-minute reveal trailer that only a handful of people saw during the reveal of the game. It had an awesome “under AT-AT” moment.
The Jakku Teaser
CW: I’m in love with the scene where the Millennium Falcon shows up in the final moments of the reveal trailer. But my personal favorite is the destruction of the AT-AT. For the falling of the AT-AT, I had a metal creak recording which had somebody talking in the background. I decided to drastically slow down that part of the recording, which worked amazingly for the moments before the AT-AT hit the ground. It sounds like it’s moaning in pain.
TB: Besides working with the amazing music, my favorite sounds were those of the tie fighters. They cut through anything we worked with and always made the tie fighters sound like they were fast. I also liked the foot stomps of the AT-AT. It was a fun challenge to get them to sound big without the use of a sub woofer, but when I mixed them in Atmos, the entire room shook, and there was no doubt we were underneath a gigantic Imperial construct.
What is it about that original Star Wars soundscape that makes it so unique – and why does it hold up so well after all these years?
CD: I think since many sci-fi movies reach for “sci-fi” or over-processed sounds, they tend to sound a bit artificial. The human connection to those sounds is not instant.
This familiarity, as well as the injection of human performance into the sounds, is what holds up so well and allows one to connect with it
By creating them from common sounds, less synthetic, mic recorded randomization (vs created randomization) it instantly feels familiar. This familiarity, as well as the injection of human performance into the sounds, is what holds up so well and allows one to connect with it. Naturally people loved the movie as well, so the sound-scape becomes a big part of that love. The sounds had “air”, a sense of true realism, with the sensibility and wit of Burtt injected into them. Believability of the sounds in this case was critical to making you think this 1/100th size model flying into a bright light-bulb was truly the real deal.
CW: In my opinion, Ben Burtt really changed how we “sound editors” think about sound. It’s always been inspiring how he layered recordings of everyday objects to create something that sounds totally new and unique. I think the reason why these sounds hold up so well after all these years is they are all very carefully chosen and have the emotional effect that the movies demand. For example, I always have a huge smile on my face when I hear R2D2’s beeps, and I get tense when I hear Darth Vader’s creepy breathing.
TB: If you muted these sounds in the original movies, you’d actually be missing a lot of the story. With most of these sounds having roots in the organic world, they took on their own essential role of storytelling and conveying emotion, by giving life to the hundreds of inanimate objects in the Star Wars Galaxy. They didn’t just fill the space so that you could hear what you were seeing; they were many times the voice of the unwritten or unspoken. For example, it’s how we knew that R2-D2 was happy or scared. With all that, the simplest explanation for Star Wars soundscapes’ iconic and timeless status is that the sounds themselves became a character in a masterful story that itself has stood the test of time.
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From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!
This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.
Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)
These were recorded either in urban settings, countryside, or complete wilderness.Included is a set of useful synthesized, tonal, and designed winds.
The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.
WHAT’S INSIDE:
- 102 stereo files
- Highly focused and meticulously edited sounds
- Ready to use Loop
- Urban area and Wild area
- Useful Designed & Synthesized Wind Sounds
- Recordings from the Boreal region (North) in Iceland & Canada
- Recordings from the Austral region (South) in Argentina & Chile
- Recordings from Islands in Greece & Canada
- Recordings from the desert in Marocco
- Abandonned houses and shelters
- Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
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This bundle includes 4 different libraries.
The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.
The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.
The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.
Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.
Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.
You can see the metadata and sound list below.
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The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.
From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.
The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.
Here are the cars included in this library:• Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
• Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
• BMW 114i E87 – 20 files – 10 minutes
• BMW 530D E60 – 55 files – 21 minutes
• BMW F12 640D Gran Coupe – 87 files – 49 minutes
• Excavator MF 860 – 30 files – 20 minutes
• Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
• Renault Kangoo 1.6 16V – 71 files – 32 minutes
• Renault Master II 2.8 dTi – 21 files – 13 minutes
• Renault Master F3500 dCi135 – 30 files – 12 minutes
• Tractor Case II CX90 – 15 files – 10 minutes
• Volkswagen Golf II – 26 files – 13 minutes
• Other Cars – 60 files – 23 minutes
50 %OFFEnds 1574463599
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Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total
$116.66$99.17Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.
Road bikes included:
• Yamaha 450cc Thumper
• Triumph 600cc Dual Fuel Injection
• Aprillia RST 1000cc Futura
• A selection of bonus pass-bys and externals from a range of high performance bikes
Dirt & Asphalt Volume 2 is the second addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from two motocross events and two practise sessions, with additional bonus content provided as race atmospheres.
Library highlights:AMCA Motocross Classes Included:
MX1/MX2/Experts/Seniors Unlimited classesEngine Sizes Included:
85cc/125cc/250cc/450cc engines
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Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.
Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.
As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.
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An electric car sound library with a range of FX from the Hyundai SUV, Kona.
The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.
It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.
Multiple FX on each track – recorded in Sydney, Australia
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car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!
Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:
car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend
and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!20 %OFFEnds 1574981999 -
Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included
From: $119From: $95.20ENORMOUS SOUNDING PERCUSSIVE HITS
CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.
With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.
CINEMATIC STRIKES – CONSTRUCTION KIT:
FLEXIBLE SOUND DESIGN TOOLKITThe Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.
PERSPECTIVE & RHYTHM
Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.
Files: 618 • Sounds: 3708 • Size: 13 GB
CINEMATIC STRIKES – DESIGNED:
MAXIMUM PUNCH – AND THEN SOMECINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.
From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.
This package is particularly useful for filmmakers and trailer sound designers.
Files: 108 • Sounds: 432 • Size: 1.4 GBCINEMATIC STRIKES BUNDLE:
THE BUNDLE – The best of both worlds at a discounted price.
The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.
Files: 726 • Sounds: 4140 • Size: 14.6 GB
Included sounds – keywords:
BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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+ free sounds with every issue:
How did they make the Imperial alarm sound?