Supervising Sound Editor Tim Nielsen Asbjoern Andersen


Tim Nielsen is a Supervising Sound Editor with over 20 years of experience working in television and film. His credits include Pirates of the Caribbean, Indiana Jones and the Kingdom of the Crystal Skull, Solo: A Star Wars Story, and Dark Crystal: Age of Resistance - and in this interview by Doug Siebum, he talks about his work and the role of Supervising Sound Editor:
Written by Doug Siebum, photos courtesy of Tim Nielsen and Skywalker Sound
Please share:
 

DS: Hi Tim, thanks for agreeing to do an interview. Today I want to talk about the topic of “supervision” and what it means to be a supervising sound editor.

TN: Great, I suppose you’ll get a fair number of different answers, as there is quite a wide variety of “supervision”.
 

DS: How did you find your way into doing sound and more specifically, sound for film?

TN: I was a graduate student at USC in Los Angeles. I had never given sound a second thought. I’m not particularly musical, I don’t play any instruments really. I wanted to be a cinematographer, I thought. But while at school, Gary Rydstrom came and did a lecture, and held a screening of Toy Story, that had just came out. Immediately I was drawn to the power and imagination of sound. That summer I applied for, and was accepted as, Skywalker’s first official intern. That lead to a job as a supervising assistant fairly quickly after graduation.
 

DS: How did you progress from being a sound editor to being a supervising sound editor?

TN: My first supervising job was Journey to the Center of the Earth 3D. The post production supervisor that we worked with in New Zealand on Lord of the Rings, and who became a friend, asked me to help out on that film, heading up to Vancouver and taking over the Supervisor duties. After that it was a mix of some supervising and editing back and forth for a few years before most of my work became supervising and sound design.

 

DS: What percentage of your time on a project is spent dealing with clients, administrative work like hiring people and dealing with budgets, and creative work such as sound design or cutting sound effects?

I would say the workload is probably something like 80% creative and 20% administrative for me. But there are of course some shows that tend to flip that ratio!

TN: It can vary quite a bit from show to show. Often I’ll have a co-supervisor, and often that person will handle quite a bit of that job as well. But a fair amount. The hiring doesn’t take long, we crew up the film as soon as we are able, once we have a schedule. Once the show is up and running, I would say the workload is probably something like 80% creative and 20% administrative for me. But there are of course some shows that tend to flip that ratio!
 

DS: How do you set up a schedule?

TN: We always work backwards from the release, and therefore the end of the deliverables and final mix. We’ll compare the budgets of other shows we feel are in the same family. So if we’re scheduling an animated movie, we might look at other animated shows we’ve done. Often the client will have a budget already in mind, and we’ll use those numbers to figure out how much time we can break that down into for various crew members and departments. But it’s always timed up to the release date. And often the clients already have a rough schedule in mind, there may be temp mixes, or early needs for the picture department.
 

DS: How do you know how many weeks is enough time? Does the company help you with that?

TN: Well it’s always really an educated guess. We’ll try and read the script at least. But we never really know for sure. But with 20 years experience you get a pretty good gut instinct of what a given show will take.
 

[tweet_box]Film sound veteran Tim Nielsen shares insight on supervising a film[/tweet_box]
DS: Do you find the work or does the company assign clients to you?

TN: A mixture of both. I have some relationships with clients and companies, and also the company is always looking for projects to bring in. Rarely, but sometimes we’ll interview for jobs. It’s really quite a mix of all of the above.
 

DS: How did you find your team? Word of mouth? Assigned by the company?

TN: As the supervisor, it’s really up to me to hire who I want, crew is never assigned. I have a regular group of people that I tend to work with, but we’re a small enough company that I know everyone in the company as well. When putting a show together it’s a blend of your regulars, and if schedules don’t allow, then it’s finding out who is available and picking the people you feel are the most right for the job.
 

DS: How often do you check in on the progress of your team members?

TN: Constantly. We all meet at least once a week, often on Monday mornings for a debrief about the coming week, make sure everyone knows what everyone is doing. Technologies like instant messaging allow fairly constant communication. We usually have lunch together, or at least some group of us. So that constant communication is really vital to a well run show. Everyone needs to know what I’m doing, and vice versa.
 


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


Trending right now:

  • Charge up on magical energy with our Spells Variations Vol 1 sound library! We’ve designed this collection to give you a wide range of magical effects, allowing your project to shine with an extraordinary variety of sounds. With 361 fully categorized and carefully named magic sounds, you’ll have everything you need to create an immersive and magical atmosphere.

    Explore categories such as arcane magic, water magic, electric magic, zaps, whooshes, celestial magic, dark magic, summons, and much more. Each effect has been meticulously recorded,edited and distributed at 192 kHz and 24-bit, ensuring exceptional sound quality. Whether you’re a professional sound designer or just looking for magic effects to drag and drop into your projects, you’ll find what you need here.

    Our files have been named to reflect the essence of each magic, making it easy to intuitively find the perfect sounds for your creation.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical elemental sounds [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.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 361 spell sounds
    – Number of Audio Waves: 361
    – Format: 192KHz / 24 bits
    – Do Sound FX loop yes
    – Minutes of audio provided: 12 minutes and 31 seconds

  • Cinematic & Trailer Sound Effects Four Elements Play Track 3050 sounds included, 251 mins total $112.49
    FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

    25 %
    OFF
    Ends 1738623599
  • Fire Sound Effects Dark Magic Play Track 1369 sounds included $149

    Dark Magic is a sonic portal into the realm of evil. This diverse collection of sound gives you everything you need to create magic spells and dynamic energies spanning the ethereal to the visceral. Focusing on universal categories like combustion, air, liquid, and vocals, these sounds were recorded and designed for their embodiment of fear, anger, and sorrow. Use the pre designed magic spells, whooshes and explosions, or create your own from the large collection of sonic building blocks included in this library. These sounds are useful as sweeteners outside of the magic genre as well, since so many of them have compelling vocal qualities that add personality and emotion to any design.

  • Bird Sound Effects Crows Play Track 30+ sounds included $45

    The Crows library includes 30 stereo tracks of nothing but crow sound effects, perfect for single isolated effects, but also for ambience track layering.

    Every sound is recorded inside forests, and close to crows’ nests with younger birds being fed and calling out, and next to natural habitats where bigger flocks gather in trees. It also has a variety of up-close caw sounds from the only tame albino crow in Scandinavia, recorded in a bird’s zoo.

    The crow has quite a large vocabulary, and the classic calling usually is a little different from bird to bird. Some are more round when sounding out, while others are just plain hoarse and rusty-sounding.

    The library includes both untreated tracks, and noise reduction-processed tracks in two separate folders. Noise reduction-processed tracks have been cleaned up with a CEDAR NR system.

    Equipment used: Telinga Stereo Microphone and Flexible dish, and Sound devices 702 Recorder.

    All tracks are 96K/24 bit apx. 1 Gb big when unzipped. All meta data tagged.


Latest releases:

  • Unleash your creativity with out-of-the-box loops and tones.

    HorrorSound’s Deep Tock is a unique collection combining two sample packs in one, offering a dynamic selection of stylized clock loops and signature sonic elements.

    Signature Sounds

    The Signature section boasts 145 modern horror abstracts and unsettling tones. These tormented and unique bleeps perfectly punctuate modern horror trailers and scores.

    Featuring: Twisted Vocals, Signals, Alarms, Bursts, Processed Toy Piano and Glissato Strings.

    Clock Loops

    The clock loops are organized into 8 folders, featuring over 270 tempo-synced loops from 60 to 140 BPM. Spanning classic to experimental, you’ll find everything from ticking mechanisms to haunting chimes and plucks. These incredibly realistic and pristine loops are ready for action horror trailers and suspense underscores.

  • This sound library boasts a comprehensive collection of door sound recordings taken around a Willerby Granada XL two-bedroomed static caravan on a quiet resort in Cenarth, Wales.

    As well as interior and exterior door sounds, this library also features sounds of furniture and cabinet doors.

  • Jaguar F Type SVR

    Probably the most extreme sounding Jaguar you could buy as of 2025, and since the future of company is electric – probably most extreme exhaust sound on any Jaguar ever.

    This SVR version has a supercharged 5-litre V8 engine with 567bhp.

    Exhaust is titanium, vs stainless steel on F Type R version, meaning a different and more agressive/much louder sound.

    The library consists of vehicle track day recordings with 2 exhaust mic configurations (different runs different rigs) – Shure SM58 dynamic mic and DPA 4062 rig and engine mic array capturing various engine sound perspectives.

    External recordings were made with Sennheiser 8060 shotgun mic.

    Library consists of startups, revs, onboards and variety of passbys.

  • This premium collection of sound effects was recorded over 3 years in the foothills and lowlands around the Southern Carpathian Mountains in Romania. This is the sound of the eastern and southeastern European countryside – meadows and hedgerows thrumming with the sound of insects and birds.

    Recorded in a spatially-open, exciting and realistic-sounding quad-surround NOS-based format*, these are ultra-low-noise recordings of cinematic quality. They are fully ‘rotatable’ for next-level sound editing options or alternative perspectives. Also available in stereo version.

    Key Features

    • 20 wildlife-rich atmospheres
    • detailed Soundminer and BWAV metadata including species lists
    • available in quad (4.0) or stereo (2.0)
    • ultra low-noise
    • fully rotatable surround format for alternate perspectives (4.0 version only)

    Featured Habitats

    Lowland rural meadows, scrub edges and hedgerows.

    Wildlife Vocalisations

    Some of the many birds to be heard include turtle dove, golden oriole, blackcap, buzzard, jay and great-spotted woodpecker. The birds have a range which extends across southeastern Europe.

    CLICK FOR FULL FILE LIST

    Technical

    Sennheiser MKH8040 based 4.0 microphone setup recorded into Sonosax SX-R4+

    Recording Characteristics

    • Ultra-low-noise
    • Carefully mastered to remove any unwanted artefacts whilst preserving low-frequency energy
    • Spatially balanced to ensure a coherent and immersive image appropriate to the recording.
    • Continuous, unedited and uninterrupted, preserving the natural rhythms of the biophony.


    All sounds recorded by Nicholas Allan, a Jackson Hole and BAFTA-nominated sound designer who, along with his team, has created the natural soundtracks for countless natural history TV documentaries and feature films for National Geographic, BBC, Discovery, Animal Planet, Netflix and others.

    Special thanks to: Christoph Promberger, Andrew Wilson and Jolanta Brdej-Allan.

    CLICK FOR FULL FILE LIST

    * tracks 19 and 20 are recorded in double mid/side

  • Roomtones and ambiences recorded in ambisonic B-format (ambix) and binaural.
    Including some actions like elevator in use, door open-close etc.
    Recorded with Sennheiser Ambeo VR microphone and Sound Devices recorder. See the track list for additional info.

    B-format (RAW-4ch.) and Binaural files. Audio preview is in Binaural (best with headphones). Metadata tagged.

    15 %
    OFF
Need specific sound effects? Try a search below:


DS: How much do you interact with the picture department?

TN: Quite regularly. They are often asking for sound effects, and we like to get as much in front of them, and into the Avid early on, as possible. We need that feedback before we hit the final mix stage, especially for special sound design. And if we do temp mixes, those mixes are usually loaded into the Avid, which allows the filmmakers to live with our sounds a bit, and give valuable feedback. And as time with the director can often be difficult to get, the picture editor is the one we’ll interact with more.
 

DS: How do you negotiate a budget?

TN: Like one would negotiate anything else, with back and forth communication with the client. It’s not in their best interest for us to take on a project we know isn’t funded enough for us to do the quality of work that is expected of us. I’ve found myself from time to time, having to turn down projects, simply because I didn’t believe I could do the project justice. But we get creative, find new solutions and workflows, and do our best to work with our clients to find the appropriate budget for the project and the expectations.
 

Supervising Sound Editor Tim Nielsen in his studio

DS: How do you plan out the overall sound of a film?

TN: First is just to watch it without taking notes, without thinking about it. I need that first impression of the project. Is the film working? What is the film about? Forgetting sound, but just to get my head wrapped around the project. Then a second viewing taking notes, things that I have questions about, things that seem clear from the project that will dictate sound requirements. List of things we’ll need to record or design. Sort of a roadmap through the sound of the film. At that point I’ll be thinking about which scenes and reels a certain editor might be best suited for, which things I want to tackle directly myself. And then we’ll have a sound spotting session with the director, picture editor and sometimes a producer or two. That’s where they will convey their wishes about the sound, their ideas or concerns. That conversation can be in vary basic and wide terms, or very focused, depending on the clients, and how far along they are in the picture edit. Occasionally, and this should happen more, we’ll have a script before shooting, or during, so we can be thinking about the film even that early on. But once the project starts, it’s a constant juggling of resources, time, money… we’ll adapt often to the needs of the film, and so there is a never a plan at the very beginning that isn’t constantly modifying itself as we go along.
 

DS: How do you assign people on your team to different jobs or specific sounds? Are you more inclined to give them a reel or are you more inclined to assign a specific subject to cut?

TN: Editors working with me always are given reels. I feel like it’s very important that a single voice be in charge of a larger piece of the movie in that way. Of course I may also have them doing specific scenes, but I want them to have that overall say in their work too. I may take a few specific things within that reel, but mostly it’s theirs to cut. We’ll sit and spot it together, I’ll make clear what things I’ll be doing, or what sounds I intend to make, and then it’s just quite a bit of back and forth. But I always allow them their own first pass. I want to hear their ideas, often they have ideas that surprise me and things that I didn’t think about. After that first pass, we’ll do a lot of back and forth as we hone and polish the reel to what the film needs, and what the clients are expecting.
 

DS: How much input do you give on the mix? Or do you leave it largely to the re-recording mixer and director?

My job doesn’t end with the mix, my job ends once the mix is delivered.

TN: A lot of input. If it’s something these days that I’m not mixing, I’m still present in the room the entire mix, and I always have ideas and suggestions and questions. That’s my job. My job doesn’t end with the mix, my job ends once the mix is delivered. But my job as the supervising sound editor continues all through the mix, and it’s very important to me to be there. I love the collaboration with the mixers, they bring to it their expertise and experiences. But I would never just sit back and not be involved. By the time we hit the mix, I’ve often been on the project for months, and I have a very good idea of how it should sound, how the clients are expecting it to sound, etc.
 

DS: What’s the difference in supervising TV and film? Do you have a different approach?

TN: There isn’t really any difference in the larger picture. Budgets are smaller and schedules are tighter. Crews are smaller. You have to sometimes get a bit creative and inventive to figure out how to make the money stretch as far as it will go. But it’s still storytelling, and there are still schedules and budgets and clients and all the rest. So really there isn’t that much difference.
 

DS: Do you have anything else that you’d like to add?

TN: I think your questions really covered it all!
 

Thank you Tim Nielsen for sharing some insight into the world of sound supervision.

You can find Tim Nielsen on IMDb here, on Twitter here, and at Skywalker Sound here.

 

Please share this:


 



 
 
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:

  • Charge up on magical energy with our Spells Variations Vol 1 sound library! We’ve designed this collection to give you a wide range of magical effects, allowing your project to shine with an extraordinary variety of sounds. With 361 fully categorized and carefully named magic sounds, you’ll have everything you need to create an immersive and magical atmosphere.

    Explore categories such as arcane magic, water magic, electric magic, zaps, whooshes, celestial magic, dark magic, summons, and much more. Each effect has been meticulously recorded,edited and distributed at 192 kHz and 24-bit, ensuring exceptional sound quality. Whether you’re a professional sound designer or just looking for magic effects to drag and drop into your projects, you’ll find what you need here.

    Our files have been named to reflect the essence of each magic, making it easy to intuitively find the perfect sounds for your creation.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical elemental sounds [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.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 361 spell sounds
    – Number of Audio Waves: 361
    – Format: 192KHz / 24 bits
    – Do Sound FX loop yes
    – Minutes of audio provided: 12 minutes and 31 seconds

  • Cinematic & Trailer Sound Effects Four Elements Play Track 3050 sounds included, 251 mins total $112.49
    FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

    25 %
    OFF
    Ends 1738623599
  • Analog Days contains 390 sounds extracted from old portable cassette players, Retro WW tube radios, vintage turntable vinyl record players and retro tape machines. This is really a sound time capsule ready to send your projects back to the good old analog days and give that sense of analog imperfection that makes the sound really interesting.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Unleash your creativity with out-of-the-box loops and tones.

    HorrorSound’s Deep Tock is a unique collection combining two sample packs in one, offering a dynamic selection of stylized clock loops and signature sonic elements.

    Signature Sounds

    The Signature section boasts 145 modern horror abstracts and unsettling tones. These tormented and unique bleeps perfectly punctuate modern horror trailers and scores.

    Featuring: Twisted Vocals, Signals, Alarms, Bursts, Processed Toy Piano and Glissato Strings.

    Clock Loops

    The clock loops are organized into 8 folders, featuring over 270 tempo-synced loops from 60 to 140 BPM. Spanning classic to experimental, you’ll find everything from ticking mechanisms to haunting chimes and plucks. These incredibly realistic and pristine loops are ready for action horror trailers and suspense underscores.

  • This sound library boasts a comprehensive collection of door sound recordings taken around a Willerby Granada XL two-bedroomed static caravan on a quiet resort in Cenarth, Wales.

    As well as interior and exterior door sounds, this library also features sounds of furniture and cabinet doors.

  • Jaguar F Type SVR

    Probably the most extreme sounding Jaguar you could buy as of 2025, and since the future of company is electric – probably most extreme exhaust sound on any Jaguar ever.

    This SVR version has a supercharged 5-litre V8 engine with 567bhp.

    Exhaust is titanium, vs stainless steel on F Type R version, meaning a different and more agressive/much louder sound.

    The library consists of vehicle track day recordings with 2 exhaust mic configurations (different runs different rigs) – Shure SM58 dynamic mic and DPA 4062 rig and engine mic array capturing various engine sound perspectives.

    External recordings were made with Sennheiser 8060 shotgun mic.

    Library consists of startups, revs, onboards and variety of passbys.

  • This premium collection of sound effects was recorded over 3 years in the foothills and lowlands around the Southern Carpathian Mountains in Romania. This is the sound of the eastern and southeastern European countryside – meadows and hedgerows thrumming with the sound of insects and birds.

    Recorded in a spatially-open, exciting and realistic-sounding quad-surround NOS-based format*, these are ultra-low-noise recordings of cinematic quality. They are fully ‘rotatable’ for next-level sound editing options or alternative perspectives. Also available in stereo version.

    Key Features

    • 20 wildlife-rich atmospheres
    • detailed Soundminer and BWAV metadata including species lists
    • available in quad (4.0) or stereo (2.0)
    • ultra low-noise
    • fully rotatable surround format for alternate perspectives (4.0 version only)

    Featured Habitats

    Lowland rural meadows, scrub edges and hedgerows.

    Wildlife Vocalisations

    Some of the many birds to be heard include turtle dove, golden oriole, blackcap, buzzard, jay and great-spotted woodpecker. The birds have a range which extends across southeastern Europe.

    CLICK FOR FULL FILE LIST

    Technical

    Sennheiser MKH8040 based 4.0 microphone setup recorded into Sonosax SX-R4+

    Recording Characteristics

    • Ultra-low-noise
    • Carefully mastered to remove any unwanted artefacts whilst preserving low-frequency energy
    • Spatially balanced to ensure a coherent and immersive image appropriate to the recording.
    • Continuous, unedited and uninterrupted, preserving the natural rhythms of the biophony.


    All sounds recorded by Nicholas Allan, a Jackson Hole and BAFTA-nominated sound designer who, along with his team, has created the natural soundtracks for countless natural history TV documentaries and feature films for National Geographic, BBC, Discovery, Animal Planet, Netflix and others.

    Special thanks to: Christoph Promberger, Andrew Wilson and Jolanta Brdej-Allan.

    CLICK FOR FULL FILE LIST

    * tracks 19 and 20 are recorded in double mid/side

  • Roomtones and ambiences recorded in ambisonic B-format (ambix) and binaural.
    Including some actions like elevator in use, door open-close etc.
    Recorded with Sennheiser Ambeo VR microphone and Sound Devices recorder. See the track list for additional info.

    B-format (RAW-4ch.) and Binaural files. Audio preview is in Binaural (best with headphones). Metadata tagged.

    15 %
    OFF

   

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.