The Witcher 3 sound design Asbjoern Andersen


Few games in recent memory have received as much praise as ‘The Witcher 3: Wild Hunt’ (PC/Xbox One/PS4) from Polish developer CD Projekt Red – they’re currently at 300 (!) awards, according to their website. And the game is indeed a stunning achievement.

Sound editor and recordist Fred Pearson got the opportunity to speak with the audio team from CD Projekt Red, and in this special interview, they give you the inside-story behind the sound for this massive game:



The Witcher 3: Wild Hunt - Debut Gameplay Trailer


The debut trailer for The Witcher 3

Fred Pearson: Firstly, congratulations on your recent Golden Joystick award wins (Ultimate Game of the Year, Best Visual Design, Best Gaming Moment and Best Storytelling). The audio is such a big part of The Witcher III: Wild Hunt, when competing with so many other assets, what challenges did you face fitting so much audio content into the game?

Krzysztof Lipka, Senior Sound Designer: Thanks for your kind words about The Witcher 3: Wild Hunt! On the creative side, one of the toughest challenges was to shape a soundscape that would support the story. Given how deeply nonlinear the game is, we had to rethink and often completely change our approach. This involved making loads of tweaks on our custom sound implementation tools to grant every in-game scenario its own vibe. Possibly the best example here is the weather system. On the one hand, it can run wild, do its thing, while set free to roam, but on the other hand it can be carefully controlled during important story moments that required custom treatment.

The second major “creative” challenge was to deliver audio layers that would be very natural and organic and yet be a magical gel bringing together all other in-game assets. Basically, our aim was to pollute the world with plenty of believable and highly detailed, specific sounds that wouldn’t feel repetitive, that would feel very organic.

We consciously took a kind a rebel/garage approach towards sound design to to make players feel that this was not an average RPG game, not a standard title, but something that was in some way “dirty” and natural

So we created tons of sfx variations for everything that needed sound support… You can imagine how hard it was to make that happen. Simultaneously, we consciously took a kind a rebel/garage approach towards sound design to to make players feel that this was not an average RPG game, not a standard title, but something that was in some way “dirty” and natural, and thus mature. Besides that we faced loads of technical challenges, but that’s far too broad a topic to discuss briefly.
 

Fred: From an auditory perspective, the environments are one of the highlights of the game for me – my first ‘wow’ moment was when first riding into the forest and wind started whipping up and rushing through the trees. I ended up standing still and just listening for 10 minutes. How did you go about implementing that and making the weather so dynamic and believable?

Paweł Daudzward, Senior Sound Designer: Thanks. We put a lot of effort into this area, since it’s a layer that is with the player at all times. We opted to base everything on dynamic, living systems rather than resorting to single tracks that would have the full set of ambient sounds burned into them. So we set everything up to respond dynamically to various parameters such as wind speed, rain/storm intensity, time of day, location… To work, everything had to be split into its individual components: wind characteristics, water components (wave intensities, water types), leaves rustling (a few different types and intensities), branches cracking or other elements breaking due to stormy conditions, rain, thunder, etc.

Likewise, birds and other wildlife had to be assigned separate, clean sounds… Our most difficult job was to remove any unwanted noise from all those elements, all those components either we recorded ourselves or gathered from sound libraries.

Birds and other wildlife had to be assigned separate, clean sounds

Each sound had to be fine-tuned to the system, to everything down- and upstream of it, so that the resulting mix of components was not muddy, instead, letting all the important gameplay sounds come through. Having all those ingredients reacting independently to the various factors, then supplementing that with asset randomization, resulted in the soundscape you hear, a soundscape that is thoroughly dynamic and hardly ever identical in technical terms.



Beautiful World of The Witcher


A look at the many different worlds of The Witcher 3

Fred: The Witcher is extremely dialogue-heavy and the story firmly depends on it. Roughly how many hours of dialogue do you have in the game and how long did it take to record it? Do you have any interesting stories from the recording process?

Krzysztof: Dialogue recording sessions were a constant throughout the production process. They were a major team effort that involved a dedicated localization team, outsourced dubbing studios and, of course, a lot of support from the game’s sound designers. The recordings started in the project’s early stages and went on for nearly a year. In the end, the game included around 45 thousand lines. You need to take that number and multiply it by 7, because that is the number of full language versions we had. I believe, on a per language basis, dialogue voiceovers totaled more than 48 hours of audio.

The outsourced dubbing studios handled 99.9% of the voiceovers, though there was a handful of special cases for which we recorded material in-house, though this mostly applied to the Polish language version. We also handled all of the VO mastering and the post-processing of specific lines (around 9 thousand lines per language) internally.

I remember this being a blast that gave us tons of cool material to work with, not to mention having our sound studios filled with game devs screeching, hissing, roaring and shouting for hours on end

Finally, we also organized the recording sessions for monster noises as well as human grunts and taunts. I remember this being a blast that gave us tons of cool material to work with, not to mention having our sound studios filled with game devs screeching, hissing, roaring and shouting for hours on end. One of the coolest sessions involved recording sounds for all the sex cut scenes in the game. By the time we were done, we had more than 2 hours of raw material that we later trimmed down to something that accounts for no more than 2 minutes of the in-game audio.
 


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MSMacbokpTk13OT_1_20.wav
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MSMacbokpTk13OT_91_115.wav
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MSMacbokpTk14IN_1_20.wav
MSMacbokpTk14IN_21_55.wav
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MSMacbokpTk14IN_91_115.wav
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MSMacbokpTk14OT_1_20.wav
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MSMacbokpTk15OT_21_55.wav
MSMacbokpTk15OT_56_90.wav
MSMacbokpTk15OT_91_115.wav
MSMacbokpTk16IN_116_127.wav
MSMacbokpTk16IN_1_20.wav
MSMacbokpTk16IN_21_55.wav
MSMacbokpTk16IN_56_90.wav
MSMacbokpTk16IN_91_115.wav
MSMacbokpTk16OT_116_127.wav
MSMacbokpTk16OT_1_20.wav
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MSMacbokpTk16OT_56_90.wav
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Navigation_Button_05.wav
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Navigation_Close_02.wav
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Percussion Rhythmic Alarm 02.wav
PLUNGER_Hit_Water_Bucket_Room_Reverb_10.wav
PLUNGER_Push_Air_Water_Drops_Bucket_Room_Reverb_1.wav
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Pony Whiny Heavy_06.wav
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Pony Whiny Soft_04.wav
Portable Old Cassette Player, Clunk of play button with static noise.wav
Protests_99_Percent_03_Ravenswood.wav
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Rapid Teleportation.wav
Repulsor Beam.wav
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reso euro amb Vol 2 Prague Train Past on Bridge R-L.wav
reso euro amb Vol 2 Prague Tram Up Past L-R.wav
reso HK amb MTR Station Announcement.wav
reso HK amb Tram Past with Bell.wav
Retro Radio, Loud, Static and hum with frequency change 03.wav
Riff Malfunction 03.wav
Riff Malfunction 04.wav
Rising Alien To The Rescue.wav
Robot Transform.wav
Robotic Malfunction.wav
Scanner 02.wav
Sci-Fi Alert 01.wav
Sci-Fi Atmosphere – Clipper.wav
Sci-Fi Atmosphere – Proceed With Care.wav
Short & Sweet 01.wav
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Short & Sweet 07.wav
Soundholder Audi A4 B8 20TDI Engine Driving Gas Pedal 2 Mono.wav
Soundholder Audi A4 B8 20TDI Foley Back Lift Mechanism Engine Stereo.wav
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Soundholder BMW 114i Outside Passby High Speed Stereo.wav
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Speak & Spell FX (8).wav
Speak & Spell FX (81).wav
Subtle Raygun 02.wav
Tape Machine, Fast forward, Reased tape form the reel 02.wav
Telemetry_03.wav
Telemetry_09.wav
Telephone Office Ring Dial Intercom.wav
Teleportation 02.wav
The Web Slinger Shoots 4.wav
Tractor Beam.wav
Traffic at Beach Distant Waves Voices Ducks Splash.wav
Two girls laughing surpised.wav
Vintage Turntable, Play, Slow down then stopped 01.wav
Young male joyful laughter.wav
Zipper 02.wav


 

Fred: Did you use any special techniques to prevent repetitive sounds from becoming annoying? I have put a lot of hours into the game so far, and find it difficult to recall any lines of dialogue or grating sounds that I’ve heard over and over and been annoyed by (which is certainly a massive compliment to yourselves).

Paweł: Nothing special in this area, I’m afraid. In terms of assets, we produced a lot of variations (different takes) for things that we knew players would hear many times over in the game. Also, the old-school technique of pitch and volume randomization remains irreplaceable, and we applied it in many, many areas. But on top of all that, the game as a whole is deep and varied. That’s important as it greatly helps to mask repetitiveness, dilute any perception thereof.
Krzysztof: Apart from the basic tricks and sound design philosophy Paweł mentions, I would also add that many of the sfx in the game respond to real-time parameters. Quite often real-time changes in, for instance, wind speed or the type/state of rain can enhance or even fundamentally alter listeners’ perception of a given sound, be it the scream of a noonwraith or the sound of sword striking its target. It’s funny, something of a paradox – sometimes the easiest way to avoid sound repetition, audio redundancy, is not to touch the sound itself… but to slightly alter everything else instead.
 
[tweet_box]’Sometimes the easiest way to avoid sound repetition is not to touch the sound itself – but to slightly alter everything else instead'[/tweet_box]  

Fred: In regards to the beautiful score, can you talk me through the process of writing the score for such a huge game? At what point in the process did the music team get involved?

Marcin Przybyłowicz, Principal Composer: We worked on the music for the game throughout the whole production cycle for The Witcher 3: Wild Hunt. The first stage was preproduction – at the start of the project we had to review our tech, tools and workflow as compared to the processes that were in place for The Witcher 2: Assassins of Kings. We had this idea that we wanted to push the music further, make it an integral part of the game’s narrative. We knew we would need a new approach to implementation and to handling in-game music, so we started working on our own adaptive music system. Our main goal was to make players feel that the music was constantly evolving and adapting to the storylines they chose to follow and to their style of play.

Implementation was handled in Wwise, and we took full advantage of the software’s features. A significant share of the music is layered, so we used a set of parameters and switches to control the behavior of the music and to craft sound on the fly.

A significant share of the music is layered, so we used a set of parameters and switches to control the behavior of the music and to craft sound on the fly

In the meantime, we set some new ground rules regarding the sound and style of our music. Since the Witcher universe draws heavily, though not exclusively, on Slavic mythology, it was obvious that the music would have to incorporate a pretty hefty dose of this vibe, too. Eventually, we decided to blend authentic folk elements with a big, contemporary sound. We ended up with something that now appears to be called “The Witcher” sound. We’re rather proud of that as it seems to indicate that our audience loved our ideas, embraced them.

During production we approached the game as one big adventure split into smaller parts, individual storylines or even quests. We treated the game’s main quest line and all those smaller threads as separate and distinct stories, with each of those stories getting its own cues, custom designed to match.


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


Trending right now:

  • Car Sound Effects Extreme Drift Play Track 360 sounds included, 220 mins total $49

    The Extreme Drift SFX library includes 360 HQ (24bit/96kHz) close and distant range perspective, auto racing recordings. Audio material of vehicles, drifting and maneuvering around race tracks at various speeds and densities taking corners and speeding on long straightaways.

    You will find idle engine sounds, powerful engine revs, slow and fast starts, crazy accelerations and wild breaking, roaring overtakings, tandem battles, tire screeches and skids echoing beautifully in the air. The audio found in our library is not limited to startups, shutdowns and gear shifts, but also offers ambiences of pit lane and working team crews.

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    Most of engines are 1 or 2 cylinders and low horse power and their RPMs are also low. Thanks to this, many of those sounds aren’t tonal and can easily be used as additional layer with other design elements. They work great for adding vintage character, designing junky or funny vehicles, crazy huge steampunk machines or engines malfunction.

    Sounds were recorded using multi-mic setup: Sanken CO-100k (most of the time pointing mechanical parts), Sennheiser MKH-8060 (mainly for isolated exhaust pipe), Schoeps CMC6XT mk41/mk8 (general image) and part also with Trance Audio Inducer contact mics (adding unique mechanical perspective).

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    All files have extensive metadata created in Soundminer, including leg picker with microphone labels.

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    We invited a lot of babies at the age from 3 to 24 months – boys and girls – to our studio.

    They followed our call, brought their parents and the funny and often loud recordings started. We also equipped every new parent in our office with our best microphones and recorders and instructed them on how to record their own babies at home. You'll just love the multicolored, sweet and piercing high-quality recordings.

    The library comes with 152 files in 96kHz/24bit High Definition Audio and has a size of more than 500MB. All sounds are royalty free, guaranteeing you best quality as always.


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  • User Interface (UI) Sound Effects Casual UI Play Track 3345 sounds included From: $129 From: $103.20

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    Capture the attention with our expertly created UI sound effects, designed to delight and engage. Crafted for menu navigation, gameplay, rewards, and more to cover the core aspects of any casual game, video, or mobile experience. This collection is set to be go-to pool of sounds and will make your user interface sound design quick and easy. Drag, drop, and finish!

    CASUAL UI | Sound Effects | Trailer

    Upgrade your UI

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    Feedback sounds

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    From arcade to how-to
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  • Embark on an auditory journey into the heart of Asian gambling with our meticulously crafted collection of royalty-free music and sound effects. Immerse your players in a world of captivating audio that’ll leave them craving more!

     

    WHAT’S INSIDE?

    Delve into the authentic sounds of Asia with our comprehensive library, featuring a diverse array of audio assets meticulously tailored for the most beloved Asian gambling games, including:

    🀄 Mahjong: Experience the timeless allure of this classic game with custom tile sounds, winning effects, and atmospheric background music that perfectly captures the essence of traditional gameplay.

    🎰 Pachinko: Feel the electric buzz of the arcade with dynamic sound effects that bring the thrill of pachinko machines to life. From bouncing balls to jackpot celebrations, our library has it all!

    🃏 Baccarat: Immerse yourself in the sophistication of the casino floor with elegant card shuffling, dealing, and winning effects that add an extra layer of excitement to every hand.

    But wait, there’s more! Our library also includes audio assets perfect for other popular Asian gambling games such as SIC BO, TAI SAI, FAN-TAN, DRAGON TIGER, CHO-HAN, KENO, PAI GOW POKER, and many more. Plus, enjoy a selection of card, dice, and poker chip sounds, as well as win jingles and music loops – complimentary gifts from some of our related products!


    ASIAN GAMBLING GAMES at a Glance:

    • 380 Audio Files (190 original sounds) in High-Quality WAV and MP3 formats
    • Sound Effects and Foley Recordings for every table and machine game mentioned
    • Background Environment Loops, short Music Jingles, and Loops included
    • Ready to use – no editing or splicing required
    • Categorized, organized, and individually labeled files for maximum efficiency
    • Unpacked Size: 161 MB | Total Run Time: 23m 48s
    • Drag and Drop Ready Files for seamless integration into your projects!
    • FREE Updates to higher versions, FOREVER!

     


    With over 1000 games worth of experience in audio production and a passion for gaming, we understand the importance of high-quality audio in creating immersive experiences. Our library is curated to ensure every sound is top-notch, allowing you to focus on creating unforgettable games that keep players coming back for more.



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    Need more card, dice, chip, and coin sounds? Looking for additional table game sounds or Asian casino music? Explore our related products below:

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    GRAB YOURS NOW AND LET THE SOUNDS OF ASIA INSPIRE YOUR NEXT GAMING MASTERPIECE!

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    Behind the Scenes Video:


    Royal Cannon


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  • Over 375 sounds of creaking materials, including breaking cables, ropes under tension and about to split, wires and strings under stress, metal friction causing tension. Recorded with a combination of Sanken CO100K and Nevaton microphones for full frequency sound content. Saved as 192KHz these files allow for high resolution editing. Useful for impact sounds in cinema, games or documentary, but also for cartoon sounds or even creature sounds as many of the recordings contain vowel-like screeching and scraping.

    Imagine a scene where a rope is about to break over an edge, an object being torn by a huge cable, a wooden structure about to collapse under stress and so on… Our brain is triggered by those rattling sounds or spine-breaking cracks coming from little fibers being split apart, parts of the structure creaking, wires scraping over edges…

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Fred: The two main regions (Skellige and Redania) have very different feels. How did you manage to create the two distinct regions in terms of sound effects and music?

Paweł: The Skellige Isles were going to be a harsh and cold environment – we knew that from the start. The design here was roughly based on the northern reaches of Scandinavia. The most important thing was to prepare the right type of wind, a more aggressive wind, especially at higher altitudes. Also, we focused on creating a different set of animals and birds for the region. Because the assumption was that the median temperatures there are lower, we also chose to reduce the number of insect sounds.

In contrast, for Redania and all the territory south of it that we refer to as No Man’s Land, we set out to create a more gentle, serene soundscape. We based our designs on elements we thought of as evoking the mood of Polish rural areas. Naturally, there were departures from this when we wanted to convey a sense of danger, have players feel the gravity of nature, its powers. But this was true for both areas, really, whenever weather conditions turned drastic and dangerous.
 
[tweet_box]Inside the monumental task of creating the sound for ‘The Witcher 3: Wild Hunt'[/tweet_box]  
Marcin: Every major location in The Witcher 3: Wild Hunt has its own unique feel, and the music had to respond to that. The music for the Skellige Isles was inspired by Nordic folklore, Scandinavian sound sets with some Celtic and Scottish elements thrown into the mix. You hear bagpipes in there, as well as a selection of very cool ethnic instruments, including the kantele, the hurdy-gurdy, dulcimers, etc. Tracks laid down for player exploration of the game world are more towards peaceful and atmospheric, while combat music sounds heroic and epic in this part of the game world.

Velen, or No Man’s Land, on the other hand, is a completely different world – a land ravaged by war, a dangerous and dark place that is full of monsters. In terms of dominant sound, this is the most Slavic location in The Witcher 3. For this area, we decided to use the long-necked lute and the kemenche as our base. Vocals play an important role, too, especially on combat tracks. Often, you hear vocals created using a special vocal technique called “white singing” (Polish: biały śpiew), which is unique to central and eastern Europe. The music in Velen is dark, aggressive, unsettling, such at times that I might even call it tribal.

The bottom line was to make music sound distinct in every major area, but at the same time it had to be cohesive, sound as if it belongs within a single musical realm, despite all the differences and variations. After all, whether they’re in Novigrad, Skellige or Velen, players should feel as if they’re playing one and the same game.
 

Fred: The weapons, mainly swords and magic, sound amazing and again not repetitive. Can you tell me how you went about designing and implementing the weapon sounds?

Paweł: We aimed to be as organic as possible. Early on in the process, we started assembling sounds for various weapon types, recording and gathering sounds for swords, axes, knives, pikes, etc., as well as for sets of armor and shields. This gave us a great base to then further tweak. Later on we used different sound libraries to enhance what we had recorded. On the implementation side, the system’s core was a rather complex matrix of sounds. In essence, it’s a mix of 4 different variables: hit type, weapon type, material type and body part being hit. The vast number of possible permutations of that set of elements is the main reason why players shouldn’t perceive much repetition. A majority of the components were fashioned and implemented by our fantastic sound designer, Laszlo Vincze, who ultimately deserves most of the credit for the final result.
 
 

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A big thanks to Fred Pearson and the audio team at CD Project Red for this interview! Learn much more about The Witcher 3 here.

Fred Pearson is an audio assistant currently working at Final Cut Audio. He has recently edited the Sound FX and Dialogue for Danny Sangra’s debut feature film ‘Goldbricks in Bloom’ featuring Jake Hoffman, and Ben Charles Edwards feature ‘Set the Thames on Fire’ featuring Noel Fielding. He also owns Arrowhead Audio, a sound FX company and sell royalty-free sound FX packs at reasonable prices.



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Car Sound Effects Extreme Drift Play Track 360 sounds included, 220 mins total $49

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    You will find idle engine sounds, powerful engine revs, slow and fast starts, crazy accelerations and wild breaking, roaring overtakings, tandem battles, tire screeches and skids echoing beautifully in the air. The audio found in our library is not limited to startups, shutdowns and gear shifts, but also offers ambiences of pit lane and working team crews.

  • Mechanical Sound Effects Old Engines Grab Bag Play Track 486 sounds included, 265 mins total $129

    “Old Engines Grab Bag” is a pack of numerous old, unique and characterful engines from early 1900s. It’s a massive collection of 56GB multitrack 192kHz recordings of old tractors and stationary engines, both diesel and gasoline fueled.

    The intention wasn’t to cover vehicles driving, but to get isolated and very closely recorded mechanical elements of engines and exhaust pipes as a source material for sound design. There are many starts, idles, revs, offs, RPMs variations, backfires etc. Some are heavy and large sounding, some are small and funny. Tractors were captured EXT and most of stationary engines INT, but since they are very closely recorded there is just a little amount of reverb on most of them.

    Most of engines are 1 or 2 cylinders and low horse power and their RPMs are also low. Thanks to this, many of those sounds aren’t tonal and can easily be used as additional layer with other design elements. They work great for adding vintage character, designing junky or funny vehicles, crazy huge steampunk machines or engines malfunction.

    Sounds were recorded using multi-mic setup: Sanken CO-100k (most of the time pointing mechanical parts), Sennheiser MKH-8060 (mainly for isolated exhaust pipe), Schoeps CMC6XT mk41/mk8 (general image) and part also with Trance Audio Inducer contact mics (adding unique mechanical perspective).

    The library is delivered as multitrack 192kHz files, as well as stereo mix of all microphones. Thanks to using microphones with extended frequency range, drastic pitch changes can be applied.
    All files have extensive metadata created in Soundminer, including leg picker with microphone labels.

    Demo files include pitched sounds, which are not delivered with library.

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Explore the full, unique collection here

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  • User Interface (UI) Sound Effects Casual UI Play Track 3345 sounds included From: $129 From: $103.20

    CASUAL SOUND IN SERIOUS QUALITY

    Capture the attention with our expertly created UI sound effects, designed to delight and engage. Crafted for menu navigation, gameplay, rewards, and more to cover the core aspects of any casual game, video, or mobile experience. This collection is set to be go-to pool of sounds and will make your user interface sound design quick and easy. Drag, drop, and finish!

    CASUAL UI | Sound Effects | Trailer

    Upgrade your UI

    CASUAL UI covers a wide spectrum of sounds specifically designed for every aspect of a user interface and brings a playful dose of life into every tap, swipe, and click. With 15 categories, these high-quality, diverse sounds are created to be your UI sound foundation, providing you with the immediate flexibility you need to create an engaging auditory landscape.

    Feedback sounds

    Gaming and interactive content rely on sound to give feedback for actions and information. This casual games sound effects library was curated to give everything you need to build a positive and easy-going sonic base for your UI. From the excitement of discovering new game levels to achieving major milestones, these sounds transform user interactions into fun, memorable moments and keep audiences eager for more.

    From arcade to how-to
    With sounds that span from quirky and playful to neatly informative, CASUAL UI is a treasure trove designed to meet diverse creative needs – from positive videos to explainer content, and more – making it an indispensable tool in any content creator’s arsenal.

    INCLUDED SOUNDS – KEYWORDS
    CLICK, PLOP, WIPE, WHOOSH, CARD, COIN, POOF, EXPLOSION, IMPACT, SHIMMER, RATTLE, EFFECT, MATERIAL WOOD, MATERIAL PAPER, MATERIAL LIQUID, MATERIAL ROCK, UI, GAME, INTERFACE, MOBILE

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  • Embark on an auditory journey into the heart of Asian gambling with our meticulously crafted collection of royalty-free music and sound effects. Immerse your players in a world of captivating audio that’ll leave them craving more!

     

    WHAT’S INSIDE?

    Delve into the authentic sounds of Asia with our comprehensive library, featuring a diverse array of audio assets meticulously tailored for the most beloved Asian gambling games, including:

    🀄 Mahjong: Experience the timeless allure of this classic game with custom tile sounds, winning effects, and atmospheric background music that perfectly captures the essence of traditional gameplay.

    🎰 Pachinko: Feel the electric buzz of the arcade with dynamic sound effects that bring the thrill of pachinko machines to life. From bouncing balls to jackpot celebrations, our library has it all!

    🃏 Baccarat: Immerse yourself in the sophistication of the casino floor with elegant card shuffling, dealing, and winning effects that add an extra layer of excitement to every hand.

    But wait, there’s more! Our library also includes audio assets perfect for other popular Asian gambling games such as SIC BO, TAI SAI, FAN-TAN, DRAGON TIGER, CHO-HAN, KENO, PAI GOW POKER, and many more. Plus, enjoy a selection of card, dice, and poker chip sounds, as well as win jingles and music loops – complimentary gifts from some of our related products!


    ASIAN GAMBLING GAMES at a Glance:

    • 380 Audio Files (190 original sounds) in High-Quality WAV and MP3 formats
    • Sound Effects and Foley Recordings for every table and machine game mentioned
    • Background Environment Loops, short Music Jingles, and Loops included
    • Ready to use – no editing or splicing required
    • Categorized, organized, and individually labeled files for maximum efficiency
    • Unpacked Size: 161 MB | Total Run Time: 23m 48s
    • Drag and Drop Ready Files for seamless integration into your projects!
    • FREE Updates to higher versions, FOREVER!

     


    With over 1000 games worth of experience in audio production and a passion for gaming, we understand the importance of high-quality audio in creating immersive experiences. Our library is curated to ensure every sound is top-notch, allowing you to focus on creating unforgettable games that keep players coming back for more.



    READY TO ELEVATE YOUR GAMING PROJECTS TO NEW HEIGHTS?

    DON’T DELAY – DOWNLOAD NOW AND IMMERSE YOUR PLAYERS IN THE ULTIMATE ASIAN GAMBLING EXPERIENCE!

     

     

    Need more card, dice, chip, and coin sounds? Looking for additional table game sounds or Asian casino music? Explore our related products below:

    👉 Cards, Chips, and Dice Sound Effects with Dealer Voiceovers
    👉 Scratch Card Sound Effects and Music
    👉 Roulette Sound Effects with Dealer Voiceovers
    👉 Slots of Asia: China and Japan
    👉 Progressive Slots and Classic Fruit Machines

    GRAB YOURS NOW AND LET THE SOUNDS OF ASIA INSPIRE YOUR NEXT GAMING MASTERPIECE!

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  • Royal Cannon is a mini sound library created by sound designer Barney Oram. It features recordings of a British royal cannon salute, fired by six WW1 field guns in February of 2020, to mark the 68th anniversary of Queen Elizabeth II’s accession to the throne. All sounds in the library are contained within one single 192kHz 24bit WAV file, with 23 individual takes contained within.

    These recordings were made using the Neumann 191, and have been decoded into a stereo file. The recordings have had some light cleanup but have been left mostly natural, with the sounds of the soldiers shouting and reloading the guns still audible.

    This library includes detailed SoundMiner metadata and utilizes the UCS system for ease of integration into your library.

    Behind the Scenes Video:


    Royal Cannon


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  • Over 375 sounds of creaking materials, including breaking cables, ropes under tension and about to split, wires and strings under stress, metal friction causing tension. Recorded with a combination of Sanken CO100K and Nevaton microphones for full frequency sound content. Saved as 192KHz these files allow for high resolution editing. Useful for impact sounds in cinema, games or documentary, but also for cartoon sounds or even creature sounds as many of the recordings contain vowel-like screeching and scraping.

    Imagine a scene where a rope is about to break over an edge, an object being torn by a huge cable, a wooden structure about to collapse under stress and so on… Our brain is triggered by those rattling sounds or spine-breaking cracks coming from little fibers being split apart, parts of the structure creaking, wires scraping over edges…

    These sounds can be perceived as delicate but have a great psychological impact as we interpret these and know what is about to happen. So suspense is built with both background and close-up sounds. Useful when building tension, when creating a sense of upcoming climax, these sonic elements will work out to amplify the details that are often important but not always visible for the eye.

    All the source material and recording are acoustic, there are no digital effects applied. This guarantees natural organic harmonics, even way beyond our hearing. Pitching down the 192 KHz files will let you discover another collection of sounds!

     

  • This pack includes 13 magic sounds, including fireball, water, lightning, curse and healing spells. Elevate your game’s enchanting atmosphere instantly with this expertly crafted sound collection.

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