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:

  • Destruction & Impact Sounds Cataclysm Play Track 1482 sounds included $195

    Cataclysm is a vast collection of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.

    The synthesized section of the library features equally rich textures in the form of explosion sweeteners, other-worldly environmental reflections, scorching energy risers and more.

    Finally, recorded and synthesized content was employed to develop the designed section, where the hyperrealism of the recordings meets the clean yet aggressive textures of the synthesized section in catastrophic assets themed around the library’s title.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Music Impressionism Play Track 100 sounds included $5

    Impressionism, masterfully crafted by Ni Sound, is a captivating collection of 100 textural music tracks inspired by the evocative soundscapes of Monument Valley and Journey. This cinematic anthology weaves intricate layers of string ensembles, harp, piano, synthesizers, and flute, creating immersive soundscapes that evoke themes of healing, epic grandeur, warmth, and haunting suspense. Tailored for documentaries, art games, advertisements, and projects inspired by literature, Impressionism invites listeners into a world of introspection, adventure, and profound emotional depth.

    Delivered in pristine 96 kHz WAV format, every composition undergoes professional post-production mastering, ensuring exceptional clarity and impact. With a total duration of 2 hours and 26 minutes, Impressionism is the perfect choice for creators seeking to enchant audiences with sophisticated, emotionally resonant sound.

    Additional Features:

    • Easy to use, drag and drop ready
    • AAA mixing and mastering
    • free updates to higher versions, Forever!

    Technical Details:

    • 100 audio files
    • wav format: 24Bit 96khz
    • unpacked size: 5.09GB
    • total run time: 2h 26m 16s

    The content of our sound fx library is free for use in commercial or non-commercial sound production purposes.

    90 %
    OFF
    Ends 1793487599
  • Introducing QUADCOPTERS.

    This extensive collection includes 192 sound files of radio-controlled quadcopters, ensuring the highest audio quality at 96 kHz and 24-bit.

    With a focus on versatility, this library offers a comprehensive range of quadcopter sizes, including 3-inch, 5-inch, 7-inch, 8-inch, and 9-inch models.

    Each sound file is tailored to capture the essential actions of each quadcopter. From the exciting startup and smooth landing to the mesmerizing hover, precise maneuvering, dynamic flybys, and acceleration, you’ll find everything you need to get an authentic sound.

    Whether you’re a filmmaker, game developer, or audio enthusiast, QUADCOPTERS is a must-have resource for bringing the captivating world of quadcopters to life in your work.

  • Ice Sound Effects Obsidian Magic Needles Play Track 300+ sounds included, 68 mins total $51.75

    Have you ever heard a material that sounds like nothing else? Listen to the magical timbre of obsidian needles. Obsidian is a volcanic stone that, in very rare places on earth, solidifies into needle shape that produces a very unique sound, purer than metal and smoother than glass.

    I collected hundreds of these needles and I built 3 chimes with the needles that sounded best. Sound effects were recorded both with Sanken CO-100K and Sennheiser MKH 8040. All recordings and processed sounds contain a lot of ultrasonic frequencies, thus can be pitched with a great flexibility.

    Have a listen to the unheard and create magic, ice, glass or any new sound effect you want.

    FEATURES:

    • Dozens of chime recordings
    • 200 needles individually sampled
    • 40 ready-to-use processed sound effects

    SPECS:

    • 192 KHz/24 bit
    • Metadata UCS-compliant

    25 %
    OFF
    Ends 1749852000

Latest releases:

  • Drones & Mood Sound Effects Pipe Noise & Flow Play Track 131+ sounds included, 233 mins total $54

    Pipe Noise & Flow is a sound effects library built around the hidden voices of pipe systems, large and small. Captured over several years across industrial plants, residential buildings, factories, sewers, underground tunnels, caves and public infrastructure, this collection brings together a wide range of sonically rich material.

    You’ll hear water, gas, and air moving through pipes made of metal steel, copper, aluminium, plastic, glass, concrete, and stone. There are massive flows and subtle trickles, bursts of pressure, hollow resonances, eerie whistles, and the strange tonalities that emerge when systems crack, leak, or fail. Many recordings feature broken or deteriorating pipes, full of texture and unpredictability. While there is plenty of industrial and subterranean grit, you’ll also find more subtle sources like kitchen sinks, bathroom plumbing, and everyday interior systems; sounds that can lend realism or eeriness to intimate scenes.

    This library is designed to be flexible and inspiring. Use it to create detailed ambiences for sci-fi, horror, and post-apocalyptic settings, to build layered mechanical textures for machines and user interfaces, or to design unique elements for hybrid weapons, alien devices, strange creatures or abandoned environments. Whether you need the realism of urban infrastructure or the surreal qualities of a forgotten machine, Pipe Noise & Flow offers an unexpected toolkit full of possibility.

    Pipe Noise & Flow - Audio Demo Spectrogram

    What’s inside:

    • Flowing water, rushing air, and gas movement through pipes
    • Large industrial pipes, small tubing, and flexible hoses
    • Pipes made of metal, iron, copper, aluminium, plastic, glass, concrete, and stone
    • Broken, leaky, and deteriorating pipes with rich textures
    • Interior plumbing: kitchen sinks, bathroom drains, home radiators
    • High-pressure bursts, trickles, drips, and hissing valves
    • Tonal and pitched pipe resonances, drones, and hums
    • Mechanical rattles, clangs, gurgles, and thumps
    • Subterranean ambiences and underground utility spaces
    • Studio performances exploring controlled flow and resonance
    • Eerie whistles and howling vents for otherworldly design
    • Abstract textures and tonalities ideal for creature sound design
    • Inspiring source material for sci-fi, horror, fantasy, and surreal soundscapes
    • Useful elements for user interface design, machine textures, and hybrid weapons
    • Ready-to-layer assets for creating atmospheres, backgrounds, and special effects
    28 %
    OFF
  • Ambisonic City, Suburbs, Rural Ambiences in B-format (ambix) and binaural.

    Ambiences of the city, suburbs and rural areas. Many sound perspectives and situations. Long recordings, over 20 GB of recordings. Please check the sound list for additional info.

    Recorded with Sennheiser Ambeo VR microphone and Sound Devices Mix Pre 10-II, 744T recorder. See the track list for additional info.

    The download contains each recording in B-format (RAW-4ch.) and as Binaural Stereo files. The audio preview is binaural and should be listened to with headphones. All files are tagged with Metadata.

    19 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Footsteps Sound Effects MachinEra: Robotic Movements Play Track 166 sounds included, 3 mins total $54

    A dynamic collection of robotic sound effects capturing the essence of synthetic motion—from heavy mech footsteps to agile servo twitches. Organized into Robot_Big and Robot_Small, this pack delivers detailed mechanical gestures that give life and character to any robot—ideal for film, games, animation, and futuristic sound design. Bring your bots to life with authentic movement, precision, and personality.

    MachinEra: Robotic Movements Sound Effects Pack

    🤖 What’s Inside?
    ✔️ Robot_Big: Heavy robotic footsteps, mechanical stomps, structural clanks, and full-motion sequences for large-scale machines.
    ✔️ Robot_Small: Servo-driven motions, nimble joint movements, mechanical twitches, and intricate robotic details.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    27 %
    OFF
  • Sci-Fi Sound Effects MachinEra: SciFi Engines Play Track 284 sounds included, 41 mins total $74

    A high-octane collection of sci-fi engine sounds designed to power futuristic vehicles, starships, drones, and advanced machinery. With layered boosts, charged accelerations, and energetic propulsion, this pack delivers cinematic engine sounds with punch and scale—perfect for games, trailers, film, and sci-fi storytelling. Give your machines the roar of tomorrow.

    MachinEra: Sci-Fi Engines Sound Effects Pack

    🚀 What’s Inside?
    ✔️ Engine Boosts: Aggressive power surges, acceleration bursts, energy charges, and propulsion blasts.
    ✔️ Sci-Fi Motions: High-velocity thrusts, futuristic drives, and stylized engine pulses.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    21 %
    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:

  • Destruction & Impact Sounds Cataclysm Play Track 1482 sounds included $195

    Cataclysm is a vast collection of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.

    The synthesized section of the library features equally rich textures in the form of explosion sweeteners, other-worldly environmental reflections, scorching energy risers and more.

    Finally, recorded and synthesized content was employed to develop the designed section, where the hyperrealism of the recordings meets the clean yet aggressive textures of the synthesized section in catastrophic assets themed around the library’s title.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Cats are remarkably expressive creatures. And capturing their voices can be a daunting task. Not anymore…

    The “Meow” sound library provides all the core cat vocalizations you'll need in a single package.

    Using 11 different cats cherry picked for their characters, this library provides over 272 vocalizations for your productions.

    From sweet mewls, to longing cries, or vicious shrieks, this library has got you covered.

    This library also includes the Sonic Worlds “CAT” sound pack.

    Meet the beasts:

    JASPER
    A lunatic Calico. A treasure trove of enraged vocalizations.

    AFORI & FANGS
    Sweet natured Russian Blues for that soft gentle character.

    BASTARDO
    A nasty mean tomcat, hence his name. A Tabby with a rich growl.

    BOGART
    Deep threatening growls and hisses. A Ginger in a foul mood.

    GINGY & LUCIFER
    Whiny sounding Ginger cats. For those hungry begging cries.

    JESSICA
    Classic meows that work like a charm.

    MARTY
    A sad sounding Tabby cat. For those longing mewls that will break your heart.

    SWEETY
    An absolute sweetheart black cat. Purry meows galore.

    Cat sounds included:
    ● Screeches and Shrieks
    ● Snipes
    ● Yelps
    ● Mewls
    ● Cries
    ● Purrs
    ● Growls
    ● Grumbles, Groans and Moans
    ● Whining and Begging
    ● Hisses
    ● Squirms
    ● Meows in a huge variety of characters
    ● And more…
  • The RPG Magic library delivers a total of 215 ready-made unique magic sound effects suitable for Role-Playing Games, Battle Arena and more. The SFX comes in flexible layers for you to mix & match to create the most unique and fitting sound for your magic. Bring your magic sound design to the next level with this collection.

    Includes sounds such as:

    – 147 Spells (Buffs, Debuffs, Heals, Negative Spells, Neutral Spells, Positive Spells and Revives)
    – 54 Basic Attacks & Impacts (Magic Swooshes & Impacts Ranging from Small to Large)
    – 13 Misc (Boss Appear, Monster Dies, Skill Unlock, UIs, Teleport)

    Check out our blog if you are interested to know how and why we made this pack.

    [ Tutorial – How does it work? ]
    Read the blog post: https://wowsound.com/rpg-magic-pack-tutorial/

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Drones & Mood Sound Effects Pipe Noise & Flow Play Track 131+ sounds included, 233 mins total $54

    Pipe Noise & Flow is a sound effects library built around the hidden voices of pipe systems, large and small. Captured over several years across industrial plants, residential buildings, factories, sewers, underground tunnels, caves and public infrastructure, this collection brings together a wide range of sonically rich material.

    You’ll hear water, gas, and air moving through pipes made of metal steel, copper, aluminium, plastic, glass, concrete, and stone. There are massive flows and subtle trickles, bursts of pressure, hollow resonances, eerie whistles, and the strange tonalities that emerge when systems crack, leak, or fail. Many recordings feature broken or deteriorating pipes, full of texture and unpredictability. While there is plenty of industrial and subterranean grit, you’ll also find more subtle sources like kitchen sinks, bathroom plumbing, and everyday interior systems; sounds that can lend realism or eeriness to intimate scenes.

    This library is designed to be flexible and inspiring. Use it to create detailed ambiences for sci-fi, horror, and post-apocalyptic settings, to build layered mechanical textures for machines and user interfaces, or to design unique elements for hybrid weapons, alien devices, strange creatures or abandoned environments. Whether you need the realism of urban infrastructure or the surreal qualities of a forgotten machine, Pipe Noise & Flow offers an unexpected toolkit full of possibility.

    Pipe Noise & Flow - Audio Demo Spectrogram

    What’s inside:

    • Flowing water, rushing air, and gas movement through pipes
    • Large industrial pipes, small tubing, and flexible hoses
    • Pipes made of metal, iron, copper, aluminium, plastic, glass, concrete, and stone
    • Broken, leaky, and deteriorating pipes with rich textures
    • Interior plumbing: kitchen sinks, bathroom drains, home radiators
    • High-pressure bursts, trickles, drips, and hissing valves
    • Tonal and pitched pipe resonances, drones, and hums
    • Mechanical rattles, clangs, gurgles, and thumps
    • Subterranean ambiences and underground utility spaces
    • Studio performances exploring controlled flow and resonance
    • Eerie whistles and howling vents for otherworldly design
    • Abstract textures and tonalities ideal for creature sound design
    • Inspiring source material for sci-fi, horror, fantasy, and surreal soundscapes
    • Useful elements for user interface design, machine textures, and hybrid weapons
    • Ready-to-layer assets for creating atmospheres, backgrounds, and special effects
    28 %
    OFF
  • Ambisonic City, Suburbs, Rural Ambiences in B-format (ambix) and binaural.

    Ambiences of the city, suburbs and rural areas. Many sound perspectives and situations. Long recordings, over 20 GB of recordings. Please check the sound list for additional info.

    Recorded with Sennheiser Ambeo VR microphone and Sound Devices Mix Pre 10-II, 744T recorder. See the track list for additional info.

    The download contains each recording in B-format (RAW-4ch.) and as Binaural Stereo files. The audio preview is binaural and should be listened to with headphones. All files are tagged with Metadata.

    19 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Footsteps Sound Effects MachinEra: Robotic Movements Play Track 166 sounds included, 3 mins total $54

    A dynamic collection of robotic sound effects capturing the essence of synthetic motion—from heavy mech footsteps to agile servo twitches. Organized into Robot_Big and Robot_Small, this pack delivers detailed mechanical gestures that give life and character to any robot—ideal for film, games, animation, and futuristic sound design. Bring your bots to life with authentic movement, precision, and personality.

    MachinEra: Robotic Movements Sound Effects Pack

    🤖 What’s Inside?
    ✔️ Robot_Big: Heavy robotic footsteps, mechanical stomps, structural clanks, and full-motion sequences for large-scale machines.
    ✔️ Robot_Small: Servo-driven motions, nimble joint movements, mechanical twitches, and intricate robotic details.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    27 %
    OFF
  • Sci-Fi Sound Effects MachinEra: SciFi Engines Play Track 284 sounds included, 41 mins total $74

    A high-octane collection of sci-fi engine sounds designed to power futuristic vehicles, starships, drones, and advanced machinery. With layered boosts, charged accelerations, and energetic propulsion, this pack delivers cinematic engine sounds with punch and scale—perfect for games, trailers, film, and sci-fi storytelling. Give your machines the roar of tomorrow.

    MachinEra: Sci-Fi Engines Sound Effects Pack

    🚀 What’s Inside?
    ✔️ Engine Boosts: Aggressive power surges, acceleration bursts, energy charges, and propulsion blasts.
    ✔️ Sci-Fi Motions: High-velocity thrusts, futuristic drives, and stylized engine pulses.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    21 %
    OFF

   

Leave a Reply

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

HTML tags are not allowed.