How to make your own horror sound effects:
Sound designer Joe Dzuban worked on five films with horror director James Wan, starting with Insidious in 2010. Since then, he’s designed and/or mixed the sound for a dozen top horror films including The Conjuring, Annabelle, Malignant, Scary Stories to Tell in the Dark, and Crimson Peak. Here, Dzuban shares his insights and tips on how to design amazing horror sounds:
In this A Sound Effect interview for AirCon, 2 x Oscar-winning supervising sound editor/sound designer Karen Baker Landers (Skyfall, Gladiator, Braveheart) talks about creating cringe-inducing horror sound, how to use subtle environmental sounds to express a character’s emotional state – and she shares her secret for creating Oscar-winning sound:
Dehumaniser 2 by Krotos is an excellent vocal sound design system – and Michał Pukała from Krotos has provided this helpful guide featuring 5 tips on how you can make the most of it:
How do you create your own horror and gore sound effects? Saro Sahihi from SoundBits has a lot of experience with that, having done both a full-on gore sound library, as well as some SFX libraries with really creepy, ghostly sounds and shocking transitions. And in this special A Sound Effect guide, he shares his tips on how to make those horrific sounds. Here’s Saro with his tips for horror sound effects creation:
Horror Sound Effect Highlights:
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The BEASTIARIUM: Monsters & Creatures library delivers more than 1700 sounds of monsters, attacks, breathe, hits, death and other related sounds.
The library contains hundreds of high-quality sounds created using various recording, processing, and synthesis techniques.
Version 0.6 is out: 24 types of monsters, 1773 sounds.
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The most popular horror sound effects libraries out there:
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Behind the sound for scary horror movies, series and games
– Exclusive A Sound Effect interviews:
Gamers are thrilled with Remedy Entertainment’s Alan Wake 2. This long-anticipated sequel to Alan Wake (2010) deviates from the original action-adventure game by leaning into the darker aspects as a survival horror game. In this massive interview, the Alan Wake 2 sound team discusses their aesthetic inspirations for the game, how they created new vocals for the ‘Taken’ and ‘Fade Outs,’ how they designed Washington State and the Dark Place like two different games, how they used music to support gameplay and misdirect the player, how they designed immersive environments, how they handled the sound for teleporting, and much, much more:
Director Ishana Shyamalan’s debut feature The Watchers is a supernatural horror film that blends elements of Irish folklore like faeries and changelings with natural elements that have a dark twist, like an enchanted forest that traps visitors inside and flocks of birds (called devil birds) that panic and flee as the sun sets. For the sound team, this created a fun opportunity to explore nature sounds in a new way, to create unique vocalizations for ‘The Watchers’ and design how they’d sound when mimicking humans. Here, sound supervisors Jill Purdy and Sylvain Bellemare talk about working with director Ishana Shyamalan, finding the sound of the magical forest and the wildlife within, designing sounds for the folklore-inspired ‘Watchers,’ and so much more:
Director David Gordon Green’s new Exorcist trilogy has kicked off with The Exorcist: Believer – in theaters now. The film follows two young girls who are possessed by the same demon.
Here, sound supervisor/re-recording mixer Rich Bologna – who previously worked with Dir. Gordon Green on his Halloween retcon trilogy – talks about the collaborative use of sound design and music to create an unsettling atmosphere/mood leading up to the chaotic, multi-phase exorcism.
He talks about designing a lush and inviting opening to the film, which plays in contrast to where the film leads. He talks about how they handled the sound of the demon, the subjective psychological POV moments, and more!
Director M. Night Shyamalan’s film Trap mainly unfolds at a pop concert. To make the performance feel ‘live’ and to keep it going throughout all locations in the stadium, the sound team – led by sound supervisors Dashen Naidoo and Jill Purdy – needed to craft reactive concert crowds, create a unique sonic perspective of the concert for the different locations in stadium, and then shift to the killer’s POV (and incorporate the film’s score) to portray his anxiety and to tell the story Shyamalan intended for the film. Here, Naidoo and Purdy detail their approach to achieving a convincing concert sound, using sound to build tension, and so much more:
HBO’s hit series True Detective is back with Season 4. This time around the show is helmed by Writer/Director/Exec. Producer Issa López, who chose a sound team led by co-supervising sound editors Martín Hernández and Stephen Griffiths.
True Detective: Night Country is set in Alaska during the sunless winter season. The unforgiving environment and persistent darkness act as an antagonistic character working against the detectives who are trying to untangle the events that led to the mysterious deaths of a team of research scientists. Here, Hernández, Griffiths, and sound editor Jake Fielding talk about building the environment’s character using expressive wind sounds, evocative vocal elements, and descriptive sound design, effects and foley to add an additional dimension to the story:
Saw X is the 10th installment of the Saw franchise, which began nearly two decades ago. These horror films are known for Jigsaw’s death traps, which require the victims to physically harm themselves in order to save their own lives.
The traps are inventive, and brutal, and offer extraordinary opportunities for sound!
Here, supervising sound editor/sound designer Adam Stein and sound designer David Rose talk about creating the sound of the death traps (and the resulting gore) in Saw X:
Horror film Talk to Me is the debut feature film from directors Danny and Michael Philippou. It first premiered at Sundance 2023 in the Midnight category and was later picked up by A24 for a wide theatrical release over the summer. The imaginative Australian film follows a group of young friends who mess around with a mysterious embalmed hand that lets them contact (and become briefly possessed by) the dead.
Here, award-winning sound supervisor/re-recording mixer Emma Bortignon talks about creating unique sounds for each possession and designing tense, tonal ambiences, what went into the sound of a dying kangaroo, how the mix evolved during the post process, how she mixed sounds into the surrounds to keep the audience on edge, and so much more:
Horror film Evil Dead Rise is a cinematic experience that makes full use of the Dolby Atmos surround format – with action sounds happening in the overheads, demonic vocals swirling around the theater, and music stems intermingling with sound design that’s panned around the room. Fans of the Evil Dead films will not be disappointed.
Here, sound designer/supervising sound editor Peter Albrechtsen, dialogue editor/re-recording mixer Garret Farrell, and re-recording mixer Gabriel Gutiérrez talk about paying homage to the original films, exploring new sounds for this film (like unique vocal processing for the Deadites), and experimenting with the design and mix to make Evil Dead Rise a fun horror adventure:
Ebb Software’s disquieting horror/survival game Scorn takes players to a desolate alien planet filled with organic-metallic machines that offer a means of protection against combatants by adding ‘enhancements’ to the player and they provide a possible means of escape but at a devastating cost to the player’s humanity.
The visual design is reminiscent of H.R. Giger’s art and the sound of the game (which is devoid of dialogue) is dark, foreboding, and slimy yet sharp and resonant.
Here, lead sound designer Koca Kastavarac talks about how they created the heavy atmospheres/environmental sounds, the diegetic sounds of the machines, the sounds of enemies such as the Parasite, Cyborg, Workers, etc., how they overcame technical challenges like adding an occlusion system, and much more:
Author A. A. Milne’s beloved children’s book bear Winnie-the-Pooh has taken on a new persona: cold-hearted killer. Since the character is now part of the public domain, director/writer Rhys Frake-Waterfield saw his opportunity to tell a very different story set in Hundred Acre Wood.
His horror film Winnie-the-Pooh: Blood and Honey – in select theaters – catches up with a grown-up Christopher Robin, who went off to college and abandoned his long-time woodland pals. Left to fend for themselves, Pooh and Piglet have gone feral, as Christopher finds out upon his return to the woods.
Here, supervising sound designer Ryan Hatton talks about creating creepy, uninviting ambience for Pooh’s stomping ground, how he created some of the film’s gory scenes, how he used sound as a cost-effective storytelling tool for the low-budget film, how they made the mix more impactful, and much more:
Director M. Night Shyamalan’s Knock at the Cabin tells the unsettling story of a family who encounters of group of strangers in a remote cabin, forcing them to make an unthinkable choice to avert the ultimate disaster. Since the story mainly unfolds in one location, sound played a crucial role in defining the character of the space and helping the audience to clue into what’s happening off-screen.
Here, supervising sound editor David Forshee talks about building up the insect sounds in the woods using custom recordings from recordist Colin Hart as the base, working with the Alchemy Post foley team to help emphasize each character’s personal traits and helping to add weight and texture to the handcrafted weapons, designing apocalyptic events (like a tsunami) yet making it feel like it was captured using a smartphone camera, working sounds against the score, and more:
Director Gerard Johnstone’s horror-comedy M3GAN is a fun and frightening trip into the near-future where robotics and artificial intelligence have progressed enough to be used in a life-like doll, named M3GAN, that not only interacts with a child but is able to learn, process that information, and reprogram itself to become better suited to the child’s needs – even (over)protect the child from harm.
Here, supervising sound editor/sound designer P.K. Hooker talks about creating the mechanical, vocal, and electrical/digital sounds for M3GAN, and how those sounds change over the course of the movie to reflect M3GAN’s evolution from caring companion to evil robot. He also goes into detail about specific attack scenes, like M3GAN’s encounter with the neighbor, the scene in the elevator & much more:
Supermassive Games has released four games in their narrative-drive horror/survival series The Dark Pictures Anthology, one game per year since the first installment Man of Medan in 2019.
Each game is a different sub-genre of horror, has a unique score, and hosts a new cast of characters. And since the creative cycles for two games overlapped every year, Audio Director Barney Pratt had to do a lot of project juggling to keep them on schedule.
Here, he compares their approach to sound on each release, talks about how advancements in technology (like spatial audio) influenced their approach, what went into creating each game’s unique score, the character sound design, and several creatures featured in the games. He also shares details on the sound of the latest installment, The Devil in Me , such as recording custom sound, mixing in real-time, and more:
Director Scott Derrickson’s horror film The Black Phone is set in the ’70s, and the culture of that era influenced supervising sound editor Paul Hackner’s approach to sound editing and mix on the film. Here, he talks about using the song structure of Pink Floyd and other ’70s bands as a guide to designing the stylized dream sequences, how they created the balloon-filled chaos of Finn’s abduction, how to create the perfect jump scare, and more!
Director Halina Reijn’s horror-comedy film Bodies Bodies Bodies (distributed by A24) follows a group of rich 20-somethings who throw a hurricane party at a remote family mansion. As their party game goes awry, snarky backstabbing takes front stage. The hurricane rages outside and the fake friends find their party going from bad to deadly.
Award-winning sound supervisor/re-recording mixer Luciano Vignola and sound designer Mariusz Glabinski talk about creating a long-lasting hurricane that is interesting and dynamic, building intense dialogue scenes, using foley to heighten the chaos and flesh out quiet scenes, and much more!
Danish director Christian Tafdrup’s disturbing film Speak No Evil – which premiered in the Sundance 2022 Midnight category – tells the tale of a mild-mannered Danish family who visits an offbeat Dutch family they had recently met on vacation. The houseguests’ stay turns from friendly to frightening, with an ending that’s dubbed ‘shocking’ by Sundance audiences. Here, sound designer/re-recording mixer Marco Vermaas talks about building intensity through the film’s soundscape and what it was like to sound design that vivid ending.
Here, Soundcuts Audio Director Adele Cutting talks about the all-important dialogue (voiced in 8 different languages), their approach to creating cinematic sound that nods to classic horror films, crafting responsive ambiences using open-world game techniques, scoring interactive music and working with licensend music, designing the werewolf sounds, and so much more!
Netflix’s Archive 81 horror series – executive produced by James Wan – follows video archivist Dan Turner, who takes a job restoring and logging tapes that were damaged in a fire. As Dan watches the disturbing footage, he uncovers a sinister cult that’s involved in the disappearance of Melody (the woman who shot the footage).
Here, supervising sound editor Mark Relyea and sound designer Daisuke Sawa talk about designing scary sounds using static, building a supernatural portal, creating the voice of the demon Kaelego, and enhancing the ritual chanting of the cult followers.
Re-recording mixers Alexandra Fehrman and Richard Weingart discuss the use of the Dolby Atmos surround field, and the processing chains used to create different perspectives in the series.
For director Mariama Diallo’s feature film debut Master – in US Dramatic Competition at Sundance – she tells a supernatural story that leans on social isolation, exclusion, and racism. Here, sound supervisor/sound designer Robert Hein and re-recording mixer Robert Fernandez talk about using sound to support these feelings and to add a sense of darkness and horror.
Director Dan Trachtenberg’s Predator prequel Prey (distributed by Disney+, Hulu) is set in 1719, so the sound team – led by supervising sound editors Chris Terhune and Will Files – got to reimagine the advanced weaponry and armor known from previous Predator films in a more primitive form.
In turn, the Predator in Prey faces off with humans who are also less technologically advanced – a tribe of Comanche with stone and wood weapons and a roaming pack of French fur traders, who have black powder muskets and pistols.
Here, Terhune talks about redesigning iconic Predator sounds to fit the more primitive time, Dialogue/ADR Supervisor Jessie Anne Spence discusses the unique opportunity to record and edit Comanche dialogue and group, and re-recording mixer Craig Henighan (who co-mixed with Terhune) talks about finding the emotion for the mix in Dolby Atmos.
In celebration of Twin Peaks: Fire Walk With Me’s 30-year anniversary: Sound supervisor Doug Murray shares lots of fascinating sound stories behind the haunting film and the Twin Peaks series, the creative joys of “sound painting” with David Lynch, channeling Alan Splet’s sensibilities, its impact on film sound today, the sound for signature scenes – and how it transformed him as a sound designer. Hear the full interview below:
Mike Flanagan, known for The Haunting of Hill House and The Haunting of Bly Manor, has a new series on Netflix — Midnight Mass. Here, supervising sound editors Trevor Gates and Jonathan Wales (also re-recording mixer) talk about location building, creating the show’s choir, designing disturbing sequences, and so much more!
Halloween is the longest-running horror film franchise to date. Beginning in 1978, there have been 13 Michael Myers films including the latest Halloween Kills in theaters now. Here, supervising sound editor/re-recording mixer Rich Bologna at WB Sound in NYC shares his tale of designing and mixing Halloween Kills, his collaboration with director David Gordon Green, and his sonic contributions to this legendary film franchise:
Director Nia DaCosta’s horror film Candyman — in theaters now — takes a unique approach to storytelling, using both unique visual elements and important social issues to explain the existence of Candyman. Here, sound supervisor/sound designer/re-recording mixer Michael Babcock talks about the role of sound as a storytelling tool, and how he created the sonic vocabulary of this film.
Neill Blomkamp’s ‘Demonic’ is an interesting blend of high-tech virtual reality and ancient demonic folklore. Here, sound team members Jo Rossi (sound supervisor/re-recording mixer), Vince Renaud (sound supervisor/re-recording mixer), and Nolan McNaughton (sound designer/effects editor) dive into details of designing the simulated world, demons, dream sequences, and more:
There’s been a resurgence in the popularity of director Steven Soderbergh’s film Contagion due to its realistic and mostly-accurate portrayal of a global pandemic. Here, Soderbergh’s longtime-collaborator supervising sound editor/re-recording mixer Larry Blake looks back to how they crafted its sound.
Writer/director Mike Flanagan brings back his composing and post sound team for his second Netflix series The Haunting of Bly Manor. Here, The Newton Brothers composing duo, supervising sound editor Trevor Gates, and re-recording mixer Jonathan Wales discuss the sonic differences between Hill House and Bly Manor and how they helped support this slow-burn story through sound:
Writer/director Mike Flanagan brings back his composing and post sound team for his second Netflix series The Haunting of Bly Manor. Here, The Newton Brothers composing duo, supervising sound editor Trevor Gates, and re-recording mixer Jonathan Wales discuss the sonic differences between Hill House and Bly Manor and how they helped support this slow-burn story through sound:
HBO Max’s new limited series The Third Day — starring Jude Law and Naomie Harris — is a feast of sound that adds a sense of unease and uncertainty to mirror the characters’ experiences. Oscar-winning supervising sound editor/re-recording mixer Niv Adiri talks about his cinematic approach to designing and mixing the disturbing sound of the show:
HBO’s Lovecraft Country series is an interesting mix of historical-drama and horror elements that have given the sound team lots of avenues to explore. Here, sound supervisor Tim Kimmel and sound designer Paula Fairfield talk about their approach to world-building and monster making.
The original Halloween is one of my favorite horror movies, and the 2018 version of Halloween (a direct sequel to the original movie) has premiered to great reviews.
This interview gets you the story on how sound supervisors Will Files and P.K. Hooker found brutal sonic inspiration in Michael Myers’ no-frills method of murder – and used that to create a soundscape that’s equally simple yet savage.
Audience reactions to Netflix’ new horror series The Haunting of Hill House have been strong, with horror legend Stephen King hailing it as close to a work of genius.
Many reviewers are particularly praising the sound design for the series – and it’s a great pleasure to present this interview on how its powerful sound was made, as told by Emmy-award winning supervising sound editor/sound designer Trevor Gates.
Hereditary is being hailed as one of the best horror movies in recent years, and it sounds fantastic.
Here’s the in-depth story on how the sound team at Parabolic NY carefully controlled the tension in Hereditary with sound.
They also discuss the finer points of the sounds of gore, how you make a room tone sound evil – and a sinister sonic element heard throughout the film that you probably haven’t noticed.
The Nun is the latest installment in The Conjuring’s horror universe, and it was a huge hit at the box office.
In this exclusive interview, supervising sound editors Bill R. Dean and Ron Eng tell the story about its scary sound – covering everything from recording bells and homemade crosses, designing demon vocals, how they used the Dolby Atmos surround field, to how the jump-scare scenes never got old (especially for one re-recording mixer).
Sound and silence are key elements in A Quiet Place, and for sound designers Ethan Van der Ryn and Erik Aadahl it was an incredibly thrilling – and challenging – project to work on. Here’s how they created the crucial sound of A Quiet Place:
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I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
- 8 Different Walking types
- More than 200 unique samples
- Recorded in real snow, in different depths
- Stereo 96Khz 24bit
- Kontakt & DSsampler
- Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.
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HIGHLIGHTS:
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Here is the complete ultimate Magic bundle!
In this bundle, you get both volumes of the acclaimed Magic Elements library:
Magic Element vol.1
+ Magic Elements vol.2.Tune Up your wizardry with top-notch sound from and for the next-gen sound designers!
DESIGNED: (1,098 sounds)
the bundle comprises a total of 11 designed elements:
Earth, Ice, Fire, Air, Black, Energy, Liquid, Foliage, White, Cartoon/Anime, and Generic SOURCE: (1,110 sounds)
The source folder is packed with useful sounds that cover a large spectrum; thoroughly edited and meta-tagged. They will support your creativity with materials such as choirs, dissonant metal, creatures, papers, debris, drones, cracks, textures, friction, LFE sub sweeteners,…
Choose how you want your sounds!
2 DOWNLOAD OPTIONS INCLUDED:• GLUED (Multiple variations of the same sound glued in one file)
• SEPARATED (Each variations of sound are separated in different files)
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It’s a great pleasure to share the story behind the sound for Annabelle: Creation, which went straight to the top at the US box office.
In this in-depth interview, supervising sound editor/sound designer Bill R. Dean shares how they used sound to really ramp up the fear factor in the movie – and what it took to create that sound.
You also get an exclusive video clip with Bill R. Dean, on a rather novel sound design approach for the movie (involving light bulbs, filament and synth sounds).
Psychological horror movie It Comes at Night is proving very popular with both critics and moviegoers – and below, supervising sound editor/re-recording mixer Damian Volpe and re-recording mixer Robert Fernandez share the full story behind the film’s tense and unnerving sound:
Ridley Scott’s Alien: Covenant is the latest installment in the legendary, genre-defining sci-fi franchise.
And this interview gets you the inside-story behind the sound for the much-awaited movie, as told by Oscar-nominated supervising sound editor/sound designer Oliver Tarney and sound designer Michael Fentum.
Here, they discuss their approach to sound design on Alien: Covenant, from building on original Alien sound concepts to creating new sounds for the Neomorph, the Covenant ship, the radio transmissions from the Prometheus, and more.
The original Blair Witch Project movie made a huge splash when it premiered back in 1999, and now there’s a sequel out, simply entitled Blair Witch.
I’m very excited to be able to share the inside-story behind the sound for the new film – and without further ado, here’s the interview with Blair Witch supervising sound editor/re-recording mixer Andy Hay:
‘The Mist’ is an interesting series based on a Stephen King story – and here, supervising sound editor Bryan Parker & Emmy-award winning sound designer Paula Fairfield take you behind the scenes on its creepy sound:
Sound Supervisor Jane Tattersall takes you behind the scenes on the sound for the show, shares her favorite sound moments – and what it takes to make sound that is well and truly scary:
Lights Out by David F. Sandberg has received lots of praise for its great scares – and a truly unsettling story, too. Here, Jennifer Walden speaks with Lights Out’s award-winning sound designer and supervising sound editor Bill R. Dean. He shares the team’s approach to horror sound, how they used dynamics to create some very effective scares, the surprising sources for some of the movie’s signature sounds – and much more:
James Wan’s spine-chilling horror movie The Conjuring 2 went straight to number 1 at the box office. And here, supervising sound editor/sound designer Joe Dzuban shares the story behind the creative sound work, the value of temp mixes – and how the right talents (and tools) can take horror sound to the next level:
↑ Back to top
• Exploring the Haunting Sound of ‘Enys Men’– with director/sound designer Mark Jenkin
• Inside the Intense Sound of ‘Infinity Pool’ – with Jill Purdy and Alex Bullick
• How realistic sound heightens the horror in ‘birth/rebirth’
• How Jeff Schmidt created the terrifying sound for hit podcast series Inside The Exorcist
• Behind The Callisto Protocol’s Terrifying, Immersive Sound:
• Capturing the Sound of Horror for The Texas Chain Saw Massacre game – with Watson Wu & team:
• Designing the sound of Darq – an indie game audio deep-dive
• Why Game Audio is Vital in Through The Woods from Antagonist
• Sound for Scarehouses – A Q&A with Marc Straight
• The (surprisingly filling) approach to horror sound design for The Evil Within
• Game audio: Highlighting the horror sounds of Outlast
• Video: Creating the chilling sound for Colina: Legacy
If you want to have a go at creating your horror sounds, here are some DIY ideas from sound designer David Filskov’s excellent Guide to Sound Effects:
Bats flying
I used an umbrella opening and closing rapidly for the sound of bats flying one time… turned out great. I think I had to filter out some of the low frequency material, though.
-Tim Clarke
A pair of leather gloves flapped about is a good substitute for wings flapping when a bat takes off.
– Garry Taylor
Blood and guts being torn out
I know how to make a nice sound of blood and guts being torn out. Just make a milk pulp, put it into your mouth, and then try to say “Ghhhh”. Mix it with the end section of any water splash sample or add a sample where you’re moving out your hand from a bucket of water.
– Adam
Gore and squidge
Wet wash leather – fantastic for gore and squidge.
– Mark Estdale
Fruits! Especially tomatoes (for splatters) and potatoes (for wet crunchy sounds). Another classic is making a goo with eggs and dip rags and paper towels into them and play.
– Gustaf Grefberg
Rat shrieks
Pitched-up chickens.
– Ben Burtt
Up-pitched kittens. Especially the screechy ones.
– Gustaf Grefberg
Stone coffin opening
Slide off the top of a toilet tank.
– Ben Burtt
Spirits screaming
Dolphin and sea-lion cries, other animal screams and human vocalizations.
– Ben Burtt
Tentacles, sliding
Get a few day’s worth of stubble on your face. Go somewhere real quiet and record running your hand and arm under your chin – it mixes in nice with the hairs on your arm. Or as I just found out, get a mouse mat with a rubberized or cloth surface and rub that under your chin :-) To further this idea maybe put some shaving gel on and take a credit card and lightly rub it across? That way you get bristly with a bit of slime.
– Dave Sullivan
Having just eaten a bowl of macaroni and cheese shells, I have to say it’s the most convincing tentacle sound I’ve ever heard. It also made the bowl harder to finish :-)
– Jay Semerad
Vocalization of monster
Metal pressed against dry ice.
– Paul Arnold
Slide a straw up or down in a McDonald’s large drink plastic lid. Try pitching it down and stretching it – and voilá! McZilla.
– Max Hodges
↑ back to the horror sound overview
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I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
- 8 Different Walking types
- More than 200 unique samples
- Recorded in real snow, in different depths
- Stereo 96Khz 24bit
- Kontakt & DSsampler
- Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.
-
82 %OFFEnds 1733353199
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Bicycle Sound Effects City Bicycles – Complete Bundle Play Track 633 sounds included, 330 mins total $120The complete package bundles all available City Bicycles-packages and is fully UCS compliant. The ‘Various Passbys + Bicycle Handling’ package is added as a free bonus!
This is a unique bicycle library that captures four characteristic bikes in clean, quiet, nicely performed true exterior rides. Including multiple perspectives, speeds and actions. From fast passbys on asphalt to slow onboard recordings, smooth or skidding stops. This package contains everything you need to create convincing sound design for a City Bicycle.
Contents:
Four bikes with distinct characteristics:
1. Good bike: a smooth sounding retro bike that doesn’t rattle or squeak, really nice tire noise.
2. Bad bike: an old worn bike with severe rattles and cranking, tends to let the chain fly off.
3. Ugly bike: this bike gets you from A to B… but it won’t win awards for it’s looks.
4. Racer bike: a vintage racer that’s pre-owned but still super slick.
Five perspectives:
1. Onboard Front: captures the whirring tire and surface sound.
2. Onboard Pedal: nice overall combination of pedaling, crank creaks, chain rattle, tire and surface sounds.
3. Onboard Rear: close up sound of the rear axle, with chain, sprocket and switching of gear.
4. Tracking shot: mono recording of the passby, keeping the bike in focus while passing by.
5. Static XY shot: stereo recording of the passby that emphasizes speed.
Five perspectives:
Overview of perspectives and mic placement*Onboard recordings are 2-3 minutes long depending on speed. Higher speeds > shorter duration. All 3 onboard mics are edited in sync with one another to make layering easy. All Passbys, Arrivals and Departures move from Left to Right.
Speeds and actions:
Three speeds for every bike and every surface (see below). Departures from slow, medium to fast getaways. Arrivals from slow stops with gently squeaking handbrakes to heavy stuttering skids.City Bicycles – Perspectives Demo
Five surfaces:
We’ve recorded all Bikes on asphalt from all perspectives (onboard and roadside). Additionally, our most quiet bicycle (the Good Bike) was used to record 4 other surfaces from onboard perspectives.
Five Surfaces:
1. Asphalt: nice and clean, with smooth singing sound.**
2. Large Bricks: nicely textured surface that makes the tires purr like a cat.**
3. Gravel: a fresh crackling surface sound that you might find in a city park.
4. Grit: classic bicycle path surface sounds that layers perfectly with the other surfaces.**
5. Icy road: frozen asphalt with sparkling textures of ice crystals snapping under the wheels.
**these surfaces are also recorded from Roadside Perspectives (passby: static and tracking)
City Bicycles – Extra Surfaces Preview
BONUS files:
There are some sweeteners and extras to give your bike that extra layer of grit:
1. Exterior recordings of various actions in multiple takes from rattles, bounces, shakes to roll-bys. Enough to make your bike sound just a little different.
2. We also recorded 21 additional single passbys of various bicycles, from severely rattling to smooth riding bikes on small brick streets and alleys. Enough to expand your options to create a distinguished sound design.Metadata & Markers:
Because we know how important metadata is for your sound libraries we have created a consistent and intuitive description method that adheres to the Universal Category System. This allows you to find the sound you need easily, whether you work in a database like Soundminer/Basehead/PT Workspace work, or a Exporer/Finder window. We made a video that helps you navigate the library ans find your best bicycle sounds faster and easier.
CategoryFull
A quick way to filter out sounds you don’t need: like handling sounds or vice versa bicycle onboards.
UserCategory
Fastest way to find the type of action you need for all bicycles. Passby needed, just click and voila.
OpenTier
Once you’ve selected the bike you can open up OpenTier and audition and select the perspective you want to use.
Scene & Performer
This field contains the type of bicycle to quickly navgiate to the bike you like.
iXMLTrackLayout
This is a neat little identifier you will find in the Waveform displays and you can see in a glance what Listening position you are.
MicPerspective
We have another way to find perspectives but it is more limited to distance to the recorded subject.
So passbys are MED – EXT and handling are CU – EXT. Exterior? Of course: we recorded everything outside!
UserComments
We used this field to create the UserData and give you the minimal set of information about the recording in the filename.Additionally, we added Markers making specific sonic events are easy to spot in Soundminer and other apps.
If you have any questions about this, please contact us info@frickandtraa.com!
Single Bicycle packages:
We also sell single packages for all the bicycles in this library.
Here’s a handy comparison table:
Reviews:
344 AUDIO: ‘City Bicycles has a plethora of content, for a great price. The perfect balance between a great concept, great presentation and outstanding execution, lands them an almost perfect score of 4.9.‘The Audio Spotlight: City Bicycles is worth getting if you are in need of great sounding and well edited bicycle sounds.
Watch a video created by Zdravko Djordjevic.
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