‘The Flash’ is a spin-off from popular superhero series ‘Arrow’, and it’s been a runaway hit on The CW network, making it their most popular show ever. Season two premieres this Tuesday at 8pm/7pmC on The CW, and I got the chance to get the story behind the sound for the show:
Here’s sound designer Mark Camperell, on superhero sound effects, excitement, workflows – and how you strike that delicate balance between high-impact vs too much in sound design:
I was hired by the good folks at Atomic Sound Post Production to edit and design the sound effects for The Flash. I had previously worked with Atomic Sound on Almost Human so they were familiar with my work. The show’s sound supervisor, Michael Mullane has been kind enough to let me, more or less, have free reign on the sound effects and sound design. It’s always great to have ownership of something! (Aside, I don’t cut the BGs on the show. Sebastian Sheehan Visconti, another one of the team members at Atomic Sound, expertly cuts the BGs. I’m just on the hard sound effects and sound design. It’s a big show)
What does a superhero sound like?
BOOM! ZOOM! BAM! CRAAAK! BOP! CRASH! POW! THWACK! We’ve no doubt all seen these in countless comic books (and Adam West era Batman episodes) over the years. “The formation of a word… …by imitation of a sound made by or associated with its referent” is onomatopoeia, according to Dictionary.com. The challenge of sound design and sound editorial for superhero shows is to give the onomatopoeia of comic books a voice in a manner that is organic, iconic, signature, and consistent with the feeling of the book. All in real acoustic space mind you. The signature nature and iconic qualities have been my focus on The Flash from day one. These also prove to be the most challenging sounds to get right because they are so subjective. Every comic book fan could have a different idea of what “THWACK!” sounds like. Thankfully though, the more challenging a sound is, the more fun I get to have. I feel pretty lucky to work on a show that challenges me in this way every week.
Excitement is the key goal for the sound of The Flash. Everything I’m doing on the show is to excite the viewer and to add to the overall storytelling experience. There are superpowers, special weapons and gadgets, natural disasters, creatures, futuristic vehicles and plenty of other craziness to contend with. There are also good and evil variants of these categories and thus the sounds need to be consistent with a viewer’s already preconceived notion of this classic dichotomy.
Excitement is the key goal for the sound of The Flash. Everything I’m doing on the show is to excite the viewer and to add to the overall storytelling experience.
Finally, I’m trying to make sure that everything is properly covered. I don’t go to the mix stage, so I end up having to over cut stuff in case the client wants an alternate take on something or they might want to hear something that I might not have considered the focus of the scene. There isn’t a lot of time for back and forth, so we have to make sure absolutely everything is covered.
Sound workflow on The Flash
This is how I work: I’m not suggesting that this is for everybody, but for me it has managed to be a good strategy.
When we receive an episode from the picture department, the first thing I do is drop markers in Pro Tools for just about everything I see. I’m not dropping markers for every gunshot in a gunfight, but I am marking those sections. VFX dependent shots are marked as such and the marker isn’t deleted when I’ve cut this so that I don’t have to search the timeline for them. Again, time is at a premium so we don’t want to miss anything. Dropping the markers gives me a visual list of how deep an episode is sonically. Additionally, it helps me to figure out exactly how much I need to get through each day. After I’ve dropped in my own markers, I’ll drop markers for the stuff that the supervisor and clients have noted as needing coverage.
After the markers have been dropped in, I start cutting sound effects in. This is where things might be really unusual
A big episode will have well over 500 markers dropped. A lighter episode will have 350-400 dropped. And this isn’t even taking BGs into account.
After the markers have been dropped in, I start cutting sound effects in. This is where things might be really unusual. I have a master sessions built with all of the episodes from each season. There are a lot of repeated sound effects throughout the series that need to maintain continuity so these things need to be moved over and dropped in. For the stuff that is continuity based, its like a really big conform. The sync won’t be exactly the same, but it’s a start. This way too, the SFX mixer (Ethan Beigel) is getting the material in the similar way every week. Avoiding surprises for mixers will keep them happy and hopefully make their process run smoothly.
Once the continuity type things get cut in, (screens, Flash powers, weapons and gadgets) I move on to the new material for the episode. We only get about a week on each episode so the first couple of days are spent doing the continuity items. After that, I try to leave myself an entire day for the material that is new and unique to the episode. Usually each episode is dealing with at least one new super power, vehicle, disaster, or some new and unique piece of technology. I’m trying to build these new items from scratch as much as I can and giving an entire day to these things helps me to focus on them.
Finally, the VFX shots start trickling in and I go back and check my sync on these shots and adjust the sound accordingly as the final concept can be drastically different than the pre-vis and temp VFX, both in look and in detail.Usually what I end up doing is re-syncing stuff and adding detail to the shots.
Some of you may know Mark Camperell from The Library by Empty Sea, a great collection of independent sound effects libraries. He’s been involved with the independent SFX community for many years, and has also written this guide on how to get started creating your own indie SFX libraries. Here are some of the libraries from The Library by Empty Sea:
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Brand New Sci-Fi Ambiences from The Library by Empty Sea. 6+ GB, 150+ sounds, almost 3 hours of material, all 96k, all looped for easy use.
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Tired of those same old door knobs and hinge squeaks that you hear in every single game, film and TV show? Well, Gateway aims to remedy that issue while providing you with a brand new palette of sounds.
Gateway comes packed with doors, doors and more doors! Low end, high end, slow horror creaks and squeaks, huge slams and impacts, tiny compartment doors.
The Gateway family now includes the just-released Gateway Part 3, with more than 1400 new sounds.
Doors, gates, overhead rollups, cabinets, closets, drawers, garage doors, fireplaces, sheds, you name it!
Latches and knobs, wrought iron and chain link! Metal, wood, glass and MORE! All of these doors were acoustically captured in the real world. You won’t find anything synthesized here!
Did we mention doors? Yeah, Gateway has those too.
Gateway Part 1 features 675 files, 1200+ sounds
Gateway Part 2 features 365 files, 600+ sounds
Gateway Part 3 features 772 files, 1400+ sounds
The Gateway 1-3 Bundle features 1812 files, 3200+ sounds
Special offer:Do you already have Gateway Part 1 or 2? Send a message here for a special upgrade offer for part 3.
Choose your preferred version below – or land some great savings by getting all three in one handy package!
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Robobiotics is an exciting new sound effects collection from The Library by Empty Sea. It delivers 3600+ original sound effects for scifi and robots. We’re talking about almost 3 hours of material here.
We spent over a year recording and designing Lasers, Robot Vox, Impacts, Servos, Ratcheting Metal, Ambiances, Transformations, Foley, Vehicle Bys and much much more!
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This collection contains over 1400 original sound effects for user interfaces, telemetry, gadgetry and more.
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Designing the sound of speed
The Flash is all about speed. In season 1, Barry was discovering his abilities and learning to push them to the limit. He is really, really fast. Sometimes he’s only on screen for a few frames as he motors by. Sometimes he’s on screen for 20 seconds and objects are flying by him. My approach for the sounds of The Flash’s ability was to editorially treat him like a really aggressively driven hot rod. This doesn’t mean that I used car sounds for him, though. What I mean is that when thinking about how to edit his sounds, I thought about it like cutting a car chase. There are approaches, bys, aways, stops, on-boards, even power slides and skids… but all for a superhuman speedster and not a Ford Mustang. This approach for cutting has helped to keep up the aggression and the excitement of his power.
My approach for the sounds of The Flash’s ability was to editorially treat him like a really aggressively driven hot rod. This doesn’t mean that I used car sounds for him, though.
Next up were the sounds themselves. I have blended several items together to make up Barry’s sound. There are elements of thunder, electricity, jets, fireballs, and various custom whooshes and impacts. These things are manipulated for certain situations to give a feeling of perspective. A more distant shot of Barry speeding through the city could be more on the side of fireball and jet, whereas a closer Flash by is heavier on the electricity and impact elements. POV and on-board type shots are more focused on the blur of his body moving, electricity zapping around him and environmental elements speeding by. If this isn’t crazy enough, there is of course the evil variant of Barry in season 1, The Reverse Flash. So same approach, but you know, completely different and evil sounding.
Serious about superheroes – striking a balance between high-impact vs overblown & too much
Very few superhero-related things on this show are requested as subtle elements. It’s a big show in size and scope. I’ve alluded to our short timeline for an episode previously. My thought has always been it’s a lot easier for a mixer to pare something back and make it smaller than it is for them to make something bigger. So I always aim to provide the elements as big — bordering on overblown, big. The SFX mixer, Ethan, has the difficult task of adjusting the size of the sound to be appropriate for the situation. (Bless his heart.) This could be via EQ, some reverb for perspective, or ducking out elements of what I have provided to make a sound fit better. It varies from situation to situation.
So while what I’m cutting for The Flash is big, I aim to hit it hard quickly and then try get out of it quickly. This keeps things punchy and allows for space between elements, which in turn gives clarity and dynamic range.
That being said, I try to be sensitive to a mixer’s plight. Something I learned early on in my career is that when you’re working with a lot of material that is large, you need to hit the big moments quickly and get out of them. Then, fill in the gaps with unique, detail elements. That way, you aren’t simply filling your entire timeline with massive stuff. If you make everything big, the viewers won’t perceive it as such. So while what I’m cutting for The Flash is big, I aim to hit it hard quickly and then try get out of it quickly. This keeps things punchy and allows for space between elements, which in turn gives clarity and dynamic range. Big is always exciting. But so are dynamic changes.
In some of the more cinematic sequences, a sound designer / editor needs to try to make sure to think like a mixer. With all of these choices though, we need to be prepared for the possibility that the producers will want it the opposite way. This leads to cutting variations or alternate versions of things. For instance, I might want to let music have a section completely to heighten an emotional connection to a moment. But if something is happening on screen there, I still have to cut the material and leave it muted on the tracks. This way, if my concept doesn’t pan out with the producers, the material is already cued and ready to be played.
Popular on A Sound Effect right now - article continues below:
Latest releases:
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The Agusta A109 sound fx library features 243 clips in 12.22 gigabytes from an Italian
military helicopter. This collection includes recordings from 2 Pratt & Whitney Canada PW206C Turboshaft engines with 418 kW (561 hp) each, recorded during a military exercise.A total of 22 exterior perspectives capture the sound of this helicopter in 14 takes.
Microphones arranged at the front, side, and behind record idling, departing, and
arriving. A range of low to high turbine and rotor RPMs are captured in stationary idles.Each sound is embedded with Soundminer metadata. The collection is also bundled
with Reaper and Pro Tools sessions that arrange each take for easy editing and mixing. -
136 high-quality sound effects specially crafted to help you put sound to your pirate game.
They are divided in:– Battle (Cannon shoots, impacts on ships and water, sword hits and wounds)
– Player sounds (eating, drinking, walking)
– Foleys (map sounds, hoist sail, repairing ship, dig, tavern sounds, chest sounds)
– Voice (emotions like laughs, shouts, affirmations)
– Ambiences (Tavern ambient, ship ambient, ocean waves ambient)
More about the pack:– Intuitive file naming.
– All you’ll ever need regarding pirate game sounds.
– It also contains 2 pieces of music: A tavern song and a fanfare.
[Use them again & again]
Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
[Professional audio services]
For custom music, sound design, sound engineering or any other game audio services, please send a mail to: audioalchemiststore@gmail.com
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Game Audio Packs & Bundles Spooky Halloween Casino Slots Music and SFX Play Track 150 sounds included $297The only audio library of its kind on the market, this massive sound pack is designed to go above and beyond in rewarding our customers, offering unprecedented value to your players! Unlock the forbidden magic of Halloween with this truly unique collection of spooky sound effects and music. Each sound is handcrafted and optimized to be the perfect addition to your slot game and is the only Halloween slots library you’ll ever need!
FOR ANY SCARY THEMED OCCASION
Transform your project with hundreds of incredibly versatile sounds and voice-overs for ZOMBIES, MONSTERS, WITCHES, GHOSTS, DEVILS, DRACULA VAMPIRES, WEREWOLVES, CREEPY CLOCKS, GHOSTS, BATS, and EVIL LAUGHTER! Not to mention the highest quality spooky Halloween music you’ll need, with SOUND AMBIENCE BACKGROUND LOOPS for interior and exterior environments! This pack’s audio covers a diverse collection of themes and styles — for cartoons, blood-curdling horror, upbeat loops, engaging short stings, stripped back background loops, and more!
FOR ANY SLOT GAME SOUNDS
Any sound needed for a slot game user interface is included, such as button sounds, bet high and bet low sounds, minimum and maximum selection sounds, notifications, triggers, reveals, reel spin starts, reel spin loops, hums and whooshes, simple and special anticipation reel stop sounds, win payout tune rollups, coin sounds, spooky symbol sounds, anticipation-building wind-ups, sounds for summaries and transitions, and more! Whether your slot game is physical or online, each asset has been painstakingly optimized to cut through the background chatter and immerse your players in the haunted horrors of Halloween like never before.
INCREDIBLE EASE-OF-USE
Enrich your title in seconds with beautifully mixed, AAA quality sounds brought to you by our team of industry veterans, whose 600 slot games worth of experience have culminated in this extraordinary sound pack!
SPOOKY CASINO SLOT GAME SOUNDS at a Glance:
- 300 Audio Files (150 original sounds) – all in High-Quality WAV and MP3 formats
- 100+ Symbol Sounds, Buttons and other Interface Sounds, Reel Spin and Stops, Trigger Sounds, Selection and Reveal Sounds, and more!
- 30 Music Loops, Stings, Numerous Variations and Edits, Win Tunes, Payouts and other Celebration Tunes + much more!
- Ready to use – requires no editing, labeling or splicing. Categorized, organized and individually labeled files for maximum use efficiency
- FREE Updates to higher versions, FOREVER!
- BUY NOW in time to create an amazing project for Halloween!
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Destruction & Impact The Eiravaein Collection Play Track 21,000+ sounds included, 3265 mins total$1,129$790The Eiravaein Works total mix.
This auditory omnibus includes all 30 of our individually released SFX libraries. Encompassing a tremendously diverse amount of content, topics, unique sources, designs, recording techniques, and channel formats, our complete collection provides you with over 2.25 days of professional audio assets.
With the Eiravaein Collection, you will receive:
48Kilos, Anarchy, BigBlock, Bunretsu, Burst, Crepitus, Dx, Epona, Flourish, Gravitas, Grit, Helinä, Ilmarinen, Jarred, Kieuk, Latchlocker, Meridian, Mouthy, Nocked, OutwardInversion, Parched, Start Select, Tubular, Unfathomed, Vaeya I, Vaeya II, Vaeya III, Vaeya IV, Wakey Wakey and Yvaine.
30 %OFFEnds 1571954399 -
Introducing ASSORTED WATER – A collection of graceful, pure water sound recordings.
Each sound has been meticulously studied to ensure it is free of any blemishes or unnecessary background intrusions, such as wildlife, to make sure that the recordings can be used for any scene or environment with ease, maximizing efficiency and usability. Hear the results for yourself by taking a listen to the audio demo.
This collection focuses on water flowing and falling, with categories such as water through a variety of drainpipes, hose nozzles, taps, storm drains and more. There is also a broad selection of smooth streams, raucous rivers, waterfalls and weirs. Also included is an array of often-useful rain recordings hitting mud, leaves, vehicles, umbrellas, plastic and other surfaces. Check out our sound sheet for the full list.
All sounds are royalty free and equipped with comprehensive Soundminer metadata for rapid access.
We are extremely proud of this collection and we hope you will enjoy using the sounds …we sure have been!
Introducing ASSORTED WATER – A collection of graceful, pure water sound recordings.Each sound has been meticulously studied to ensure it is free of any blemishes or unnecessary background intrusions, such as wildlife, to make sure that the recordings can be used for any scene or environment with ease, maximizing efficiency and usability. Hear the results for yourself by taking a listen to the audio demo.
This collection focuses on water flowing and falling, with categories such as water through a variety of drainpipes, hose nozzles, taps, storm drains and more. There is also a broad selection of smooth streams, raucous rivers, waterfalls and weirs. Also included is an array of often-useful rain recordings hitting mud, leaves, vehicles, umbrellas, plastic and other surfaces. Check out our sound sheet for the full list.
All sounds are royalty free and equipped with comprehensive Soundminer metadata for rapid access.
We are extremely proud of this collection and we hope you will enjoy using the sounds …we sure have been!
KEY FEATURES
• 96 kHz, 24 Bit mono/stereo WAVs
• 82 individual SFX in 72 files
• 6 GB of data
• All WAVs include extensive embedded descriptive metadata
KEY FEATURES
• 96 kHz, 24 Bit mono/stereo WAVs
• 82 individual SFX in 72 files
• 6 GB of data
• All WAVs include extensive embedded descriptive metadata
Want the chance to win 20 premium sound effects libraries from Sound Ex Machina?
Favorite sound design tools for the show
As much as I’d love to be able to build everything from scratch on a show like The Flash, it simply isn’t possible in the time allowed. So first and foremost, my number one tool for the show is my ever-expanding sound library. That is slightly misleading, because it makes it sound like I have a massive library.
I know my library extremely well and that’s important for hitting a deadline
It’s actually kind of on the small side, but I feel having a smaller library helps me to better know what I have to work with. I know my library extremely well and that’s important for hitting a deadline. I also like constraints and limitations. I feel they help me to make better choices because I don’t have the ability to noodle around as much, looking for all the sound possibilities that could work.
I guess it’d be nice to give some credit where it is due so here goes. My library is made up of indie collections (in no particular order and I’m sure I’m forgetting stuff too, sorry) from Rabbit Ears Audio, Echo Collective, Airborne Sound, Tonsturm, The Recordist, Sound Morph, Boom Library, Sound Dogs, and my own material from The Library by Empty Sea as well as proprietary stuff I have recorded that isn’t a part of any collection. There is also stuff from The Hollywood Edge and even some things that I personally recorded for the Soundelux Library back in the day.
As far as software tools go. I’m using a lot of Izotope Iris, Waves Element, and Absynth to make unique UI for some of the story-driven screens and sci-fi stuff for weapons and vehicles. I’m using Waves Soundshifter to varispeed things quite a bit. I’m also using Melted Sounds Whoosh to create layers for the sounds of the Speedsters (Flash / Reverse Flash). With Whoosh, I’ll start with their presets, manipulate settings and add in my own sounds to create weird stuff. There are countless others, but I’ll round out the name-dropping with Waves MondoMod and SuperTap Delay. They have been very useful for making unique layers on pretty much everything.
Looking back at the sound for season 1 – and what awaits in season 2:
Season 1 was a blast. We had a girl who could teleport, a guy that could shoot lightning from his hands, another guy who could turn into a toxic mist, people who could manipulate the weather, a giant telepathic gorilla and that’s just a few of the super powers.
We had a girl who could teleport, a guy that could shoot lightning from his hands, another guy who could turn into a toxic mist, people who could manipulate the weather, a giant telepathic gorilla and that’s just a few of the super powers.
We had tidal waves, weird vortices, wormholes, and event horizons. Special weapons like a gun that could freeze people, a super flamethrower, a gun that could turn things to gold. Weird vehicles like drones and time machines. In short, we had lots of fun stuff to play with sonically.
I can’t go into much depth as to what there will be in season 2, but I can say with certainty that it is going to be just as challenging as season 1. You’re going to have to tune in to hear it!
Please share this:
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INTERACT is a royalty-free SFX collection providing you with interface, menu and HUD sound effects for your game or film at an affordable price.
We have aimed to make this collection versatile enough to be used in a wide range of projects, from a heads-up display inside a mech to quick and easy sounds in a menu for your video game.
Metadata has also been included in all of the sounds in the collection to make them easier to find in your database.
This collection contains:
- Alarms
- Calculations
- Drones
- Errors
- Glitches
- Holograms
- Notifications
- Power Ups and Downs
- Scrolling
- Selection
- Swiping
- Switches and Pots
- Text
- Transitions
- Zoom Ins and Outs
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The Hydrophone underwater sound effects library gets you a rich collection of water sound effects, captured with a DPA 8011 hydrophone.
It delivers you everything from bubbly underwater sounds, fizzes, droplets, dragging sounds, crab walking (!), underwater footsteps, bathtub drains, waves, splashes – and even an underwater scream.
32 %OFF -
For this sound effects library, we traveled across Alaska, from the extreme north to the south coast to capture the spirit of these nordic and wild landscapes: Boreal forests, arctic and alpin tundras, glaciers, rivers, and lakes.
Here the soundscapes reflect the extreme weather conditions: Silent ambiances punctuated by the elements: Wind, snow, rain, serving the erosion.
In this wilderness, animals remain discreet. We had the chance to capture many birds with our microphones: Owls, ducks, seagulls, trumpeter swans, bald eagles, common ravens, migratory birds, and many other species – and a few other animals: Hoary marmots, arctic marmots, squirrels and moose.
-The sound bank contains 66 sound takes recorded in ambisonic at 24/96khZ (a total of 330 files).
here is an exemple of an ambisonic recording embeded in a 360° movie (go on youtube to listen the 360° sound) :
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The Agusta A109 sound fx library features 243 clips in 12.22 gigabytes from an Italian
military helicopter. This collection includes recordings from 2 Pratt & Whitney Canada PW206C Turboshaft engines with 418 kW (561 hp) each, recorded during a military exercise.A total of 22 exterior perspectives capture the sound of this helicopter in 14 takes.
Microphones arranged at the front, side, and behind record idling, departing, and
arriving. A range of low to high turbine and rotor RPMs are captured in stationary idles.Each sound is embedded with Soundminer metadata. The collection is also bundled
with Reaper and Pro Tools sessions that arrange each take for easy editing and mixing. -
136 high-quality sound effects specially crafted to help you put sound to your pirate game.
They are divided in:– Battle (Cannon shoots, impacts on ships and water, sword hits and wounds)
– Player sounds (eating, drinking, walking)
– Foleys (map sounds, hoist sail, repairing ship, dig, tavern sounds, chest sounds)
– Voice (emotions like laughs, shouts, affirmations)
– Ambiences (Tavern ambient, ship ambient, ocean waves ambient)
More about the pack:– Intuitive file naming.
– All you’ll ever need regarding pirate game sounds.
– It also contains 2 pieces of music: A tavern song and a fanfare.
[Use them again & again]
Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
[Professional audio services]
For custom music, sound design, sound engineering or any other game audio services, please send a mail to: audioalchemiststore@gmail.com
25 %OFF -
Game Audio Packs & Bundles Spooky Halloween Casino Slots Music and SFX Play Track 150 sounds included $297
The only audio library of its kind on the market, this massive sound pack is designed to go above and beyond in rewarding our customers, offering unprecedented value to your players! Unlock the forbidden magic of Halloween with this truly unique collection of spooky sound effects and music. Each sound is handcrafted and optimized to be the perfect addition to your slot game and is the only Halloween slots library you’ll ever need!
FOR ANY SCARY THEMED OCCASION
Transform your project with hundreds of incredibly versatile sounds and voice-overs for ZOMBIES, MONSTERS, WITCHES, GHOSTS, DEVILS, DRACULA VAMPIRES, WEREWOLVES, CREEPY CLOCKS, GHOSTS, BATS, and EVIL LAUGHTER! Not to mention the highest quality spooky Halloween music you’ll need, with SOUND AMBIENCE BACKGROUND LOOPS for interior and exterior environments! This pack’s audio covers a diverse collection of themes and styles — for cartoons, blood-curdling horror, upbeat loops, engaging short stings, stripped back background loops, and more!
FOR ANY SLOT GAME SOUNDS
Any sound needed for a slot game user interface is included, such as button sounds, bet high and bet low sounds, minimum and maximum selection sounds, notifications, triggers, reveals, reel spin starts, reel spin loops, hums and whooshes, simple and special anticipation reel stop sounds, win payout tune rollups, coin sounds, spooky symbol sounds, anticipation-building wind-ups, sounds for summaries and transitions, and more! Whether your slot game is physical or online, each asset has been painstakingly optimized to cut through the background chatter and immerse your players in the haunted horrors of Halloween like never before.
INCREDIBLE EASE-OF-USE
Enrich your title in seconds with beautifully mixed, AAA quality sounds brought to you by our team of industry veterans, whose 600 slot games worth of experience have culminated in this extraordinary sound pack!
SPOOKY CASINO SLOT GAME SOUNDS at a Glance:
- 300 Audio Files (150 original sounds) – all in High-Quality WAV and MP3 formats
- 100+ Symbol Sounds, Buttons and other Interface Sounds, Reel Spin and Stops, Trigger Sounds, Selection and Reveal Sounds, and more!
- 30 Music Loops, Stings, Numerous Variations and Edits, Win Tunes, Payouts and other Celebration Tunes + much more!
- Ready to use – requires no editing, labeling or splicing. Categorized, organized and individually labeled files for maximum use efficiency
- FREE Updates to higher versions, FOREVER!
- BUY NOW in time to create an amazing project for Halloween!
-
Destruction & Impact The Eiravaein Collection Play Track 21,000+ sounds included, 3265 mins total
$1,129$790The Eiravaein Works total mix.
This auditory omnibus includes all 30 of our individually released SFX libraries. Encompassing a tremendously diverse amount of content, topics, unique sources, designs, recording techniques, and channel formats, our complete collection provides you with over 2.25 days of professional audio assets.
With the Eiravaein Collection, you will receive:
48Kilos, Anarchy, BigBlock, Bunretsu, Burst, Crepitus, Dx, Epona, Flourish, Gravitas, Grit, Helinä, Ilmarinen, Jarred, Kieuk, Latchlocker, Meridian, Mouthy, Nocked, OutwardInversion, Parched, Start Select, Tubular, Unfathomed, Vaeya I, Vaeya II, Vaeya III, Vaeya IV, Wakey Wakey and Yvaine.
30 %OFFEnds 1571954399 -
Introducing ASSORTED WATER – A collection of graceful, pure water sound recordings.
Each sound has been meticulously studied to ensure it is free of any blemishes or unnecessary background intrusions, such as wildlife, to make sure that the recordings can be used for any scene or environment with ease, maximizing efficiency and usability. Hear the results for yourself by taking a listen to the audio demo.
This collection focuses on water flowing and falling, with categories such as water through a variety of drainpipes, hose nozzles, taps, storm drains and more. There is also a broad selection of smooth streams, raucous rivers, waterfalls and weirs. Also included is an array of often-useful rain recordings hitting mud, leaves, vehicles, umbrellas, plastic and other surfaces. Check out our sound sheet for the full list.
All sounds are royalty free and equipped with comprehensive Soundminer metadata for rapid access.
We are extremely proud of this collection and we hope you will enjoy using the sounds …we sure have been!
Introducing ASSORTED WATER – A collection of graceful, pure water sound recordings.Each sound has been meticulously studied to ensure it is free of any blemishes or unnecessary background intrusions, such as wildlife, to make sure that the recordings can be used for any scene or environment with ease, maximizing efficiency and usability. Hear the results for yourself by taking a listen to the audio demo.
This collection focuses on water flowing and falling, with categories such as water through a variety of drainpipes, hose nozzles, taps, storm drains and more. There is also a broad selection of smooth streams, raucous rivers, waterfalls and weirs. Also included is an array of often-useful rain recordings hitting mud, leaves, vehicles, umbrellas, plastic and other surfaces. Check out our sound sheet for the full list.
All sounds are royalty free and equipped with comprehensive Soundminer metadata for rapid access.
We are extremely proud of this collection and we hope you will enjoy using the sounds …we sure have been!
KEY FEATURES
• 96 kHz, 24 Bit mono/stereo WAVs
• 82 individual SFX in 72 files
• 6 GB of data
• All WAVs include extensive embedded descriptive metadata
KEY FEATURES
• 96 kHz, 24 Bit mono/stereo WAVs
• 82 individual SFX in 72 files
• 6 GB of data
• All WAVs include extensive embedded descriptive metadata
+ free sounds with every issue: