Asbjoern Andersen


In 2011, Gord McGladdery began A Shell in the Pit, which transformed from a solo project into a beloved Vancouver-based game audio studio. Since then, the team has been responsible for the sound and music in dozens of titles - from the instantly recognizable soundtracks for Rogue Legacy and Viking Squad to the innovative technical design for Fantastic Contraption and Parkitect to the story-driven sound for Fossil Echo and A Night in the Woods.

In this interview, Gord shares with us how he maintains an innovative work environment and a resilient business model with the help of meditation, his love for spreadsheets, the strong local indie community, and of course, the amazing skills of his teammates - Em Halberstadt, Joey Van Alten, Chris Tammik, and Rachel Sim.


Written by Adriane Kuzminski; images courtesy of A Shell in the Pit, Miguel Araujo, Infinite Fall, and Awaceb.
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Hi, Gord – to start off, how many games have you and your team worked on at A Shell in the Pit so far?

We have done full soundtracks and/or soundscapes for over 30 titles and had smaller roles in at least an additional 15-20.

 
Could you tell us a little about your personal history of getting into game audio and the beginnings of the studio?

I thought I wanted to score music for film. I won a scholarship to VFS’s Sound Design for Visual Media program and half-intended to leverage that as a back-door to film composition. Then I fell in love with sound design in general, and particularly game audio due to how innovative one can be with real-time implementation.

 
Were you inspired by a specific composer or game?

Even though it’s not at all the type of music I write myself, Jessica Curry’s score for Dear Esther was the first time I heard game composition with my picky-ass hipster ears and was like “oh wow, ‘game music’ ain’t what it used to be.” So much emotional depth and just… class. Jessica Curry’s music is just classy as all hell. As far as dynamic audio, the incredible ability to set the tone in INSIDE – almost completely sans music – is the first thing that comes to mind.

 
Since your team does both sound and music, what kind of games or genres do you keep an eye out for?

It is important we work on games that interest and aesthetically mesh with my team as individuals, so the type of games we pursue are influenced by who has bandwidth. There is plenty of crossover for all of us, but if indie-narrative-fan Em is the only one with bandwidth, we aren’t going to pursue a local co-op shooter. Chris doesn’t have quite as much curative freedom since Moona, our audio tool, is used in any Unity game developers want to use it in.
 
The 5 team members of A Shell in the Pit
 
Could you tell us a little more about Moona? What games have employed it and how has the studio benefited from it most?

Moona is our Unity-based audio tool that covers a lot of the basic logic functionalities that other audio middleware tools might provide. It gives our sound designers much more sophisticated control of the Unity audio engine, including voice and instance prioritization, lead & follow action presets, RTPCs, and a bunch of other things. It’s led by our audio programmer Chris Tammik. Chris started with us as a sound design contractor, but when I saw how passionate they were becoming with audio programming in their spare time I knew there was no way it wouldn’t be an asset for us to bring Chris on full-time and simply have them do that. We were struggling with 3rd-party anything (middleware, plugins, etc.) with VR games in particular, so I really wanted us and our developers to have more control of our projects at a more technical level. When a project needed to be using a constantly updated version of Unity on tight hardware-driven deadlines, relying on large tools with complex codebases became overwhelming and I felt like a real pest hammering their support lines all the time. I decided I’d much prefer, in many cases, to have someone on the team who could tackle issues with more immediacy.

Audio implementation in Moona

Audio implementation in Moona

It also allows us to mold the tool on a project-specific basis. For instance, Parkitect has an orthographic viewpoint which introduces really weird attenuation issues when you have tall emitters in 3D space. The top of a tall tower with people yelling on it might be 100m away from a merry-go-round in the game world, but to the viewer they may only be a few pixels apart, so the user feels like they should have equal loudness. Where the heck does the listener go? This was a huge problem for which Unity had no native solution that persisted literally for years, but Chris was recently able to fix it by making modifications for Moona. Now we have that as part of our toolset for other orthographic titles, should they arise.

Games that have used Moona (and its previous rudimentary version, TaT) are Splitter Critters (this was the first game, and it used TaT which actually blew up in our faces immediately before launch, haha. Software development is hard), The American Dream, Fantastic Contraption (we were recently forced to switch from Wwise for very particular spatialization plugin issues), Parkitect, Iron Tides, and a few unannounced titles.

 
With three employees at A Shell in the Pit, how do you balance everyone’s roles and personal goals?

Now four! We just hired Rachel Sim. To answer your question, it’s important to me to minimize micromanagement. Everyone at A Shell in the Pit has as much autonomy as they want on projects, which is why it’s so important everyone can work on stuff they enjoy, believe in, and feel ownership over. I often see our company as an incubator for artists with only as much managerial meddling as is asked for/required from myself. It takes a lot of trust, which is why I am very careful about who I hire. Everyone on our team is capable of self-management to varying degrees and I only step in to fill in those gaps of variation.

 

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

 

Latest releases:  
  • Ambisonics Ambisonic – Transportation Play Track 68 sounds included, 314 mins total $136 $99

    Ambisonic – Transportation is a great collection of ambisonic ambiences recordings performed at various transportation scenarios.
    It is aimed to provide you with great spherical content to wrap your dialogue or main focus content, allowing you to create a conniving and immersing soundtrack.
    You will find recordings such as a Train car interior, Jumbo jet interior, multiple cars interior under different driving conditions,
    Bus interior, public transportation stations and much more.

    This collection is great for post-production, VR/AR interactive sound-design, game developers and any real-time 3D audio engine.
    All files are tagged and categorized for your convenience – supporting multiple tag filtering browsing applications.

    A Sennheiser Ambeo microphone paired with Zoom H8 was used to create this product.

    This package includes 68 Samples – 136 Files.
    A total 2h 37m of content.
    First Order AmbiX B-Format and Stereo @ 96Khz / 24bit.

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    Want to hear an example of the included recordings? Download the B-format Demo Here

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  • Foley Footstep Loops II Play Track 663 sounds included $75 $49

    Editing footsteps in audio post-production can be time-consuming. Footstep Loops II is a sound library that delivers a comprehensive kit of footstep sound effects made to ease your daily work.

    The collection contains footstep sounds of various shoes and surfaces, recorded in different paces and edited to continuous but lively 30-second sound loops.

    VARIETY

    The Footstep Loops II Sound Library covers a wide range of different footsteps:

    Barefoot, Socks, Slippers, Flip-Flops, Sneakers on Wood, Sneakers on Concrete, Boots on Wood, Boots on Concrete, Heels on Wood, Heels on Stone;
    Grass, Gravel, Forest, Foliage, Dry Foliage, Stones, Puddle, Mud, Snow;
    Stairs up + down: Wooden Stairs, Metal Stairs, Stone Stairs



    PACE

    Each type of footsteps is available as a set of 13 sound files that represent a range from walking very slowly up to very speedy. Paces are sorted by Footsteps per Minute (FPM):

    Ground Footsteps: from 40 FPM to 160 FPM
    Stairs Footsteps: from 60 FPM to 180 FPM (up) / from 80 FPM to 200 FPM (down)



    LAYERS

    Since all (ground) footstep loops have the same FPM paces, they can be layered easily. E.g. you can add a puddle sound element to sneakers walking on concrete etc.



    CLOTHING

    You can add clothing as a layer to make the movements sound more natural. The sounds of jeans & jacket fit to all ground footsteps. Furthermore, versions with well-balanced clothing sounds of all main footstep loops are already included as ready-to-use files!



    ADDITIONAL ELEMENTS

    Some experimental elements are also included in the library:
    2 layers of floor creaks and one layer that adds the sound of keys in the pocket while walking.



    TIME-COMPRESS

    Paces of the sound loops included in the Footstep Loops II sound library increase in steps of 10 FPM each. If you need a value in between, time-compress the file just a tiny bit – the quality loss is almost inaudible in modern digital audio workstations.



    ONLINE FOOTSTEPS GENERATOR

    To get an impression of what you get with the Footstep Loops II sound library, go HERE and play around with footsteps online.


    • 663 audio files
    • 331 minutes total runtime
    • all files contain meta-data / keywords for easy search


    All sounds from this library are included in:
    Diversity

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  • Environments Stream River & Waterfall vol.2 Play Track 88 sounds included $59 $46.20

    43 locations from various perspectives.

    STREAM / RIVER & WATERFALL features WATER MOVEMENT from JAPAN and NEW ZEALAND.
    Each STREAM and RIVER have their unique flows, and varieties of topographies gives each its characteristic sound – and WATERFALLS from small to medium adds nature feeling to it.
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    Recorded @ 24 Bit / 96 kHz with ortf, spaced omni, XY and carefully edited.

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  • Cars Renault Master IV 2.3 DCI 165 Play Track 80+ sounds included, 88 mins total $130 $117

    The Renault Master IV 2.3 DCI 165 sound library features 76 high-quality files recorded with a multi-mic setup. The engine was recorded in sync with cabin interior ambients, and you can expect different styles of driving, from casual city driving, through accelerations on a highway up to rpm ramps and constant rpm loops for game audio.

    In addition to engine recordings, this sound effects library features exterior passes, whooshes and other road-related sounds recorded in mono and stereo. Last but not least, different foley recordings covering exterior and interior sound effects.

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  • Destruction & Impact Rock Brick and Dirt 3 Play Track 500+ sounds included, 17 mins total $27

    Rock, Brick and Dirt 3 is the third of the series! This bundle includes all remastered sounds from RBD 1 and 2. With more than 100 new files recorded and designed. It’s a package of impact, Smash, Crumbling, Scratching, Landfall and more rock debris sounds. The library contains 333 files of various recording texture and perspective.

    A good package to add a dirty texture to your production.

    Each sound has been meticulously edited individually, All files were recorded and are delivered in 24bit 96kHz Broadcast Wave files, all embedded with metadata information for easy import and ensure fast and easy workflow.

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  • City Life Night Cityscapes Play Track 67 sounds included, 186 mins total $65 $20

    Night Cityscapes delivers the urban sounds of a sleeping city. The collection includes more than 3 hours of night and early morning ambiences that are recorded in Sofia, Bulgaria. All recordings were made between 01:30 and 05:30 am. This collection will uncover city in a way you may not know.

    You will find atmospheres of quiet and empty small streets in the city center, where can be heard some air conditioners, urban hum and light traffic in the far background.

    Lonely sounds of traffic lights. One single taxi passes and disappears into the night, and then it is followed by silence. Empty streets and squares with distant voices and footsteps going somewhere. Major boulevards with light night traffic. Industrial empty streets, where electric buzz and big air conditioners can be heard.

    Very, very early morning atmospheres filled with singing birds eager to foreshadow the beginning of a new day.

    ‘Night Cityscapes’ will fill the missing part of your nocturnal urban atmospheres.

    Gear used: Sound Devices 633, Neumann KM184 in ORTF configuration

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  • Environments Ocean Ambience 1 Caves, Crevices and Waves Play Track 186 sounds included, 121 mins total $59 $19.99

    Small Cave Ambiences / Big Wave Crashes / Coquina Rock Hits
    If you’re in need of an Ocean/Beach library, this is it. The library covers a range of material from small enclosed spaces with the sound of distant waves droning to massive waves crashing against the coquina rock.

    Although it is, in essence, an ambience library I recorded and edited material for maximum flexibility for further sound design capabilities.

    The library was recorded over a period of 4-weekend trips to Washington Oaks State Park near Flagler Beach, FL.

    Types of Recordings:

    • Small Cave & Rocky Crevice Ambience (Wet and Dry)
    • Ocean Waves Crashing on Rocks / Varying Perspectives
    • Coquina Rock Hits / Smashes
    • Isolated Individual Wave Crashes
    • Shell / Rock Splashes

    Bonus Forge / Reaktor Sample Maps Also Included

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  • Environments Spirit of Sound Effects: Thunder Volume 1 Play Track 102 sounds included, 55 mins total $150 $77

    Here is the thunder I recorded in 1988, to DAT with an ORTF pair of Schoeps MK-4s, which includes a strike from ~12′ away!  Hair standing up on end and everything.  You may know some of this material as what I released through “The Hollywood Edge Signature Series” back in 1993.  Well, a lot has changed.  More than half the material was then unusable back then due to rain ‘ruining’ the recordings.  Not so with Izotope RX 7 Advanced.  Rain?  What rain?  Not a drop survived.  Not.  A.  Drop.

    Painstakingly remastered to 96kHz 32-bit floating-point (no shortcuts padding it with useless zeros: That would be cheap and lazy).  Embrace it; it’s our near-future and everything I publish from here on out will be as such.

    ​   Hundreds and hundreds of mic capsule failures were repaired along with plenty of distortion – without removing any time; so if you line up the old with the now new, they won’t hold sync for long.  Back then all I could do was cut out time.  No more.  Come hear the utter clarity and crispness of this thunder as it should be.  To differentiate and make it quick and easy for people to cut, I’ve called the very close strikes “Lightning” and the not-as-close strikes “Thunder”.  Already prepped in/for Soundminer ready to go, and a spreadsheet document for those using other systems.

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  • Ambisonics Surround Sound LAB Complete Collection Play Track 4500+ sounds included, +1000 mins total $1,400 $399

    The Surround Sound LAB Complete Collection is a bundle containing the whole Surround Sound Lab Catalog. We offer it as a perpetual audio one-time subscription, getting you 4500+ files, 240+ GB of audio and free updates as the catalog grows! This one-time bundle purchase gives you access to all the Surround Sound LAB libraries, including new future releases!

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  • Materials & Texture Car Destruction Play Track 703 sounds included $249 $174.30

    The Car Destruction sound effects collection contains chassis scrapes, dragging, flipping, road rail scratching, multiple car chassis dropping takes include rolling down a slope, falling onto the ground, and impacting other cars.damaged engine idling and slow to fast driving with gearshifts, ramps, and steady RPMs from both onboard and exterior perspectives both on two cylinders and without oil and more.

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  • Environments Snow and Ice Textures Play Track 548+ sounds included, 295 mins total $199 $139.30

    A must-have collection for winter sounds, this library consists of many years' recordings of snow and ice, skiing, textures, ambiences, foley and so on. It contains lots of skiing, jumping, rails, freezing cold winds, ski resort ambiences, lifts, walking in snow and on ice, texture details such as snow spray, tires driving, skidding and spinning on ice and snow, drilling in ice and much more.

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  • Destruction & Impact The Gut-Wrenching Gore Library Play Track 712 sounds included $249 $174.30

    The Gut-Wrenching Gore Library gathers 712 clips in 26.96 gigabytes. Recorded from 6 synchronized perspectives in 192 kHz, it shares horror sound design elements in two themes: male and female vocalizations and fruit destruction.

    The vocalization showcase screams, choking, gurgling, gobbling, teeth and biting, and breathing, each with a variety of takes and performances. Body blows, stabs, hits, and gore were provided by tearing, breaking, and squeezing fruit, vegetables, and other food such as watermelons, leeks, porridge, yogurt, tomatoes and others.

    The package includes Pro Tools and Reaper mixing sessions, and embedded metadata in every clip.

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  • Metal The Junkyard Metal Library Play Track 3183 sounds included $249 $174.30

    The Junkyard Metal sound library includes 3183 clips in 98.49 GB. It collects the sound of metal hits, drops, pick ups, rattles and clatters, rumbles and rummaging, rocking, rolling, and scraping.

    Featuring diverse props ranging from large metal storage containers, diesel tanks, shopping carts, and tractor buckets to to smaller propane tanks, crates, shopping carts, and bolts, nails, and ammunition, the collection provides multiple performances in each clip.

    The sounds were performed from light to heavy intensities and captured at 192 kHz, 24-bit resolution with Sanken, Sennheiser, Neumann, and Schoeps microphones.

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Need specific sound effects? Try a search below:
 

Along with hiring people who are creative and independent, minimizing micromanagement, and seeking projects that interest your employees and fit in their bandwidth, what other qualities do you believe help in running an ideal indie studio?

I spend a LOT of mental and emotional energy on making sure we have a sustainable business model and ensuring we have multiple income streams and aren’t relying too much on one thing. Just as there must be room for failure creatively as a sound designer, you must also make room for failure as a business owner. If I am hiring people I want to be hiring them indefinitely, so losing one contract or having one revenue-share game tank cannot be the thing that sinks the company. My worst fear is running out of capital and having to lay people off. I think I’m doing alright, but I probably have a few more years to really get this sussed out. I have piles and piles of spreadsheets calculating our overhead costs, incomes, salary contingencies, affordable bonuses, etc. Without a word of a lie, I get a huge kick out of spreadsheets. Like I think they are really fun and would totally be happy working with them all day every day. The only reason I do music and sound design for games is because I don’t think I could handle the endemic pressure brought on by the fame and glamour of the elite spreadsheeting world.

 
Ha! I can only imagine their inner-circle is filled with Macallan scotch and macros.

As a volunteer mentor with the Audio Mentoring Project as well, what do you think of mentorship in the indie game audio world?

It’s tremendous. Lowering the bar of entry for the less privileged has been the guiding principle in founding the Vancouver Sound Designers Group as well as the podcast (Beards, Cats & Indie Game Audio or BCAIGA). We want to share information at as low a cost as possible and psychologically empower people from all walks of life by interviewing and hosting talks from soundies and composers of all backgrounds. I try to incorporate these ideals into A Shell in the Pit as a company.
 
Dozens of sound designers gather at the Vancouver Sound Designers meetup

Photo of the Vancouver Sound Designers Group by Miguel Araujo

 
Speaking of the podcast, not long ago in one of the episodes (and in a guest post for Designing Sound) you talked about meditation. Has this practice affected how you approach daily life at A Shell in the Pit?

I can’t lie, I am still not in a steady habit but I know it’s good. I often rephrase it for the less… open minded – I’m from a small, conservative (by Canadian standards) logging town so have I vestigial unease with anything that may lead to me hearing the word chakra – I reduce it to its most banal description. For me, “meditation” is leaving the house without my phone and going & sitting somewhere for 30+ minutes. “Meditation” is intentionally boring myself until all my restless thoughts of bills & deadlines wear themselves out and my brain can get to work on more interesting things. I assume the more one does this, the faster one can get to this productive state. This is how I have solved many of our more complex business-oriented problems as well as come up with some decent sound design ideas.

 
Can you give us an example of one of these times?

I came up with our dynamic budgeting spreadsheet via my poor man’s “meditation”. It is a spreadsheet that automatically tallies assets lists into a budget based on the filename prefix. It allows us to collaborate with developers on both the game’s asset list and the budget all at once, giving budgetary control to the developer and allowing them to balance their priorities with contracts paid at an asset-level. I also came up with all our different budgeting models by just sitting and thinking for a long time. Rarely do we lose contracts over our pricing, because by mixing and matching revenue share with up-front payments of some sort we are able to come up with something affordable for almost anyone.

 
If that doesn’t convince people to unplug once in a while, I don’t know what will! This system must save you so much time and give your developers a sense of ease. In another episode of your podcast, however, you talked about something equally as important: failure – and how not every project is guaranteed to be a hit, no matter how much time and love you put into it. Do you have any words of advice to help others become more resilient in these situations?

Keep surging forward. Of the multifarious ways a project can underperform, most are wildly out of our control as audio professionals. One cannot force the public to love anything or bend the winds of the cultural zeitgeist. Failure in chaos does not reflect the quality of one’s work or self. We are children holding out our little soap carvings hoping Mom & Dad will like it, but maybe our sibling kept them up screaming for attention all night and they’re worn out & we don’t get the reaction we were sure we’d get from them. In the moment it is devastating, but I promise it’ll be a lot easier to overcome that sting of failure by getting lost in a new carving than by sitting in your room in circular negativity. Revisit it later with less raw emotion for objective analysis. All our “failures” (which I don’t see that way) hurt less because we have always had new things to occupy us.

 
What a beautiful metaphor and wise way of looking at it. Makes it no surprise your team has been so successful. What do you find most fulfilling about running A Shell in the Pit?

Providing “dream” jobs to a diverse staff. I want and desperately hope we can keep them that way. So many “dream” jobs in entertainment wind up being so crushingly illusory. There are too many stories of excessive crunch, harassment and toxic work culture. I am trying – even if it is just with our tiny, young company – to fight against that by taking cues from great workplaces like Klei & Audiokinetic. We may not have free beer & skittles at the office… or even an office… but when I can tell everyone is doing the best work they possibly can because they love what they are doing and aren’t burnt out, overworked or apprehensive for the sustainability of their livelihoods, I feel like we are really accomplishing something.

Cartoon animals stand in a cirle around the words A Night in the Woods
 
Klei is, of course, your neighbor in Vancouver – do feel the local community plays a role in helping you maintain a dream workplace?

Without a doubt. I may be biased, and Vancouver isn’t without its flaws – it was recently awarded the top spot as the Least Affordable City for real estate in North America – but we have one of the best indie game communities in the world, largely (if not entirely) attributable to the organization Full Indie who hold monthly meetups and yearly Summits with world-class speakers. Em just did a talk on the sound for Night in the Woods at the most recent summit and brought down the house!
 

It seems like every time I see news about that game, it has won another award! Are there any upcoming projects you can tell us about?

I’m very excited for Wandersong, launching in 2018. I have written over 50 songs for it and I have to write another 50 in every imaginable genre. Em has been working on the SFX for it with Greg Lobanov, the developer, who built us arguably the most capable & complex audio tool Gamemaker has ever seen. We will also be releasing The American Dream in the near future, by far the most subversive game we’ve ever worked on, and Joey & I will soon be launching Full Metal Furies, the next game from the developers of Rogue Legacy. Parkitect is wrapping up as well! Tons going on.

A young person sits near acamp fire encircled by two large rock-shaped hands.
 
That’s a lot of exciting stuff. It will be fun to hear what you compose for Wandersong, knowing your diverse yet distinct writing for Viking Squad, Bunker Punks, Splitter Critters, and Okhlos (to only name a few). Considering the sheer amount games your studio has created sound and music for, which project are you most personally proud of?

That is like picking my favourite child! So I cannot. Em’s work on Night in the Woods is some of the best sound design in indie games ever, in my opinion. Fossil Echo was one of our best team efforts, and Moona has come such a tremendous distance since Chris began developing it that it has even replaced a major middleware tool in one of our biggest projects.

 
Great stuff! And finally – a very BCAIGA question – if Doctor Who suddenly popped out of his TARDIS and offered to take you any place in any time period so you could record one sound of your choosing, what would that sound be?

This might be everyone’s answer, but I’d love to do some field recording in the Jurassic period & get me some extinct sounds.

 
Thanks for sharing with us! Where can people follow you and the rest of the team on social media?

We are all on Twitter:

Chis: @chtammik
Em: @emaudible
Gord: @ashellinthepit
Joey: @VanAltenAudio
Rachel: @rachelsimpleton

And Facebook.

 

A big thanks to Gord McGladdery for sharing his wise perspectives from running A Shell in the Pit
– and to Adriane Kuzminski for the interview!

 

Please share this:


 


 
 
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  • Animals & Creatures Tasmanian Devils Play Track 50+ sounds included $10

    Meet the Tasmanian devil! Recorded in the Copenhagen Zoo, this library features huffs, sniffs, growls, barks, bite and chewing – and those eerie and weird critter screams.

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  • Destruction & Impact Destruction Play Track 1700+ sounds included From: $119

    Ah, destruction sound effects! We tried to feature every aspect of devastation in our brand-new SFX library DESTRUCTION which will be the baton for your own destructive masterpiece. Start with a small car crash where crushed metal meets hard rock. Imagine the fateful sound of a stressed glass pane right before it bursts into pieces. Think bigger – like a wooden cabin that gets smashed under a falling tree. Think of collapsing skyscrapers that crumble into dust. A whole ship moaning and groaning before it bursts and breaks into pieces – your possibilities are countless.

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  • Animals & Creatures Animal Hyperrealism Vol I Play Track Over 1300 sounds included $170

    Animal Hyperrealism Vol I is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: african lions, bengal tigers, horses, donkeys, cows, exotic birds, owls, bobcats, pumas, dromedaries, wolves, dogs, geese, lemurs, gibbons and many more.

    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.

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    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Ambisonics Ambisonic – Transportation Play Track 68 sounds included, 314 mins total $136 $99

    Ambisonic – Transportation is a great collection of ambisonic ambiences recordings performed at various transportation scenarios.
    It is aimed to provide you with great spherical content to wrap your dialogue or main focus content, allowing you to create a conniving and immersing soundtrack.
    You will find recordings such as a Train car interior, Jumbo jet interior, multiple cars interior under different driving conditions,
    Bus interior, public transportation stations and much more.

    This collection is great for post-production, VR/AR interactive sound-design, game developers and any real-time 3D audio engine.
    All files are tagged and categorized for your convenience – supporting multiple tag filtering browsing applications.

    A Sennheiser Ambeo microphone paired with Zoom H8 was used to create this product.

    This package includes 68 Samples – 136 Files.
    A total 2h 37m of content.
    First Order AmbiX B-Format and Stereo @ 96Khz / 24bit.

    Download a Demo here:
    Want to hear an example of the included recordings? Download the B-format Demo Here

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  • Foley Footstep Loops II Play Track 663 sounds included $75 $49

    Editing footsteps in audio post-production can be time-consuming. Footstep Loops II is a sound library that delivers a comprehensive kit of footstep sound effects made to ease your daily work.

    The collection contains footstep sounds of various shoes and surfaces, recorded in different paces and edited to continuous but lively 30-second sound loops.

    VARIETY

    The Footstep Loops II Sound Library covers a wide range of different footsteps:

    Barefoot, Socks, Slippers, Flip-Flops, Sneakers on Wood, Sneakers on Concrete, Boots on Wood, Boots on Concrete, Heels on Wood, Heels on Stone;
    Grass, Gravel, Forest, Foliage, Dry Foliage, Stones, Puddle, Mud, Snow;
    Stairs up + down: Wooden Stairs, Metal Stairs, Stone Stairs



    PACE

    Each type of footsteps is available as a set of 13 sound files that represent a range from walking very slowly up to very speedy. Paces are sorted by Footsteps per Minute (FPM):

    Ground Footsteps: from 40 FPM to 160 FPM
    Stairs Footsteps: from 60 FPM to 180 FPM (up) / from 80 FPM to 200 FPM (down)



    LAYERS

    Since all (ground) footstep loops have the same FPM paces, they can be layered easily. E.g. you can add a puddle sound element to sneakers walking on concrete etc.



    CLOTHING

    You can add clothing as a layer to make the movements sound more natural. The sounds of jeans & jacket fit to all ground footsteps. Furthermore, versions with well-balanced clothing sounds of all main footstep loops are already included as ready-to-use files!



    ADDITIONAL ELEMENTS

    Some experimental elements are also included in the library:
    2 layers of floor creaks and one layer that adds the sound of keys in the pocket while walking.



    TIME-COMPRESS

    Paces of the sound loops included in the Footstep Loops II sound library increase in steps of 10 FPM each. If you need a value in between, time-compress the file just a tiny bit – the quality loss is almost inaudible in modern digital audio workstations.



    ONLINE FOOTSTEPS GENERATOR

    To get an impression of what you get with the Footstep Loops II sound library, go HERE and play around with footsteps online.


    • 663 audio files
    • 331 minutes total runtime
    • all files contain meta-data / keywords for easy search


    All sounds from this library are included in:
    Diversity

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  • Environments Stream River & Waterfall vol.2 Play Track 88 sounds included $59 $46.20

    43 locations from various perspectives.

    STREAM / RIVER & WATERFALL features WATER MOVEMENT from JAPAN and NEW ZEALAND.
    Each STREAM and RIVER have their unique flows, and varieties of topographies gives each its characteristic sound – and WATERFALLS from small to medium adds nature feeling to it.
    In addition, the library also features places where SPRING WATER GUSHES in Japan, and huge ELECTRIC WATER PUMP from New Zealand and more.

    Recorded @ 24 Bit / 96 kHz with ortf, spaced omni, XY and carefully edited.

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  • Cars Renault Master IV 2.3 DCI 165 Play Track 80+ sounds included, 88 mins total $130 $117

    The Renault Master IV 2.3 DCI 165 sound library features 76 high-quality files recorded with a multi-mic setup. The engine was recorded in sync with cabin interior ambients, and you can expect different styles of driving, from casual city driving, through accelerations on a highway up to rpm ramps and constant rpm loops for game audio.

    In addition to engine recordings, this sound effects library features exterior passes, whooshes and other road-related sounds recorded in mono and stereo. Last but not least, different foley recordings covering exterior and interior sound effects.

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  • Destruction & Impact Rock Brick and Dirt 3 Play Track 500+ sounds included, 17 mins total $27

    Rock, Brick and Dirt 3 is the third of the series! This bundle includes all remastered sounds from RBD 1 and 2. With more than 100 new files recorded and designed. It’s a package of impact, Smash, Crumbling, Scratching, Landfall and more rock debris sounds. The library contains 333 files of various recording texture and perspective.

    A good package to add a dirty texture to your production.

    Each sound has been meticulously edited individually, All files were recorded and are delivered in 24bit 96kHz Broadcast Wave files, all embedded with metadata information for easy import and ensure fast and easy workflow.

 
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