Recording sounds in a printing roomWhat did you want to get in there that you felt was missing from current robot libraries?We wanted to break down as much as possible every aspect so that a sound designer would be able to build his own unique robot, ranging from a small tiny nanobot to a heavyweight 100-foot-tall titan.TC: I like to call it a modular library so to speak. When we first brainstormed a concept with the rest of the team, we came to the conclusion that some great robot libraries were almost 6 to 7 years old now and that more recent ones were sometimes too abstract, or too « fully designed » for our taste. We wanted to break down as much as possible every aspect and every ingredient needed with the best quality we could achieve so that a sound designer would be able to build his own unique robot, ranging from a small tiny nanobot to a heavyweight 100-foot-tall titan. That’s why we kept mostly the same structure between the Source Folder and the Designed Folder, making it easy to switch back and forth.
The challenge was not making some categories overlap each other too much.Furthermore, we tried to keep a sense of realism in some of the sounds, not overusing granulation engines and crazy random LFOs every time and everywhere since it can become a pitfall for such a library (even if we did it on some, haha). For example, mechanism sounds were the most carefully crafted sequences with various metallic and pneumatics hits, clicks, rattles, and some mixing, color and mastering processing passes to give weight and excitement to the sounds. No servos, bleeps or synths were used in them to enhance the « wow » effect, letting the sound designer have as much freedom as he wants to combine and match various categories of sounds. Capturing sounds of big pounding machines for Robotic Lifeforms 2BK: We always kept in mind that someone working in the sound industry should be able to use our samples in their own unique way, whether it be for video games, music, advertising, cinema. I’d say also that good clean sources in 192kHz, gathered in one big library, were too often missing in those types of soundpacks.TC: Yeah, having an « ultrasonic » setup (shout out to Mattia Cellotto and Michal Fojcik) on this type of sci-fi sound library is not very common yet. I’m not saying using a Sanken CO100K with 192kHz recordings is a thing everyone should do every time they hit record, because it makes little sense in some cases, but for this particular library it opens up a whole new range of sonic experimentation, giving you the possibility, as I just said, to design a wide range of science fiction entities ranging from small to huge with as many details as possible. Recording metal scrap sounds for the libraryWhen I was finally happy with the source I had, I started the design process of those.
Hard times again, but it becomes easier when you have the right source right away. The base layer of the Iron Man suit sound is a bed of textures made with those sounds, a delicate mix of slow granulation with sweeping filters and unaltered source recordings, then just add metal knuckle hits and drops along with switch sounds, highly resonant metal impacts and a bit of pneumatics and servos.BK: Maybe some samples in Attack Defense. It was sometimes hard to focus on weight, space and details without missing the action.
We had to find a way to design sophisticated sequences, but very simple to understand. That’s not an easy task with so many tiny things to take into account. But feedback between each one of us helped to clear things up!Otherwise, it was more about finding the right color for the right sound. We were sometimes using the same plugins and sources and the tones were too similar between samples. Kyma helped a lot with this problem.Can you tell the story behind some of your favorite sounds in the library?TC: We used the Kyma a lot in this library. I love the sonic quality of this machine, especially for sci-fi sounds.
I received my Paca (Kyma) around February 2017. Obviously the first thing you do is scramble through every premade patch, start experimenting with those, etc I had some cool little sounds. But then I wanted to step it up a bit and I started reading Jean Edouard Miclot and The Kymaguy (Gustav Scholda) blogs.
It was so interesting to realise how deep you can go with this machine.I started to build small patches in my free time, trying to learn copytalks. I ended up with the first iteration of the « Cyborg Machine ». I posted a video of it and got really excited feedback from guys who I admire like Joseph Fraioli, Chad Mossholder and Tilman Hahn to name a few so I decided to properly finish it.
That’s how I ended with the final (well for now!) iteration of the Cyborg Machine V2. We used it a lot to gather designed toolbox sounds for the library.
If you have a Kyma, you can download it on our website in our blog section. It is super fun to use!Also, one cool fact is that many UI sounds in the library were made by Matthieu Debliqui (aka Subjex) basically by uber mangling his own music tracks with spectral plugins that don’t even exist anymore on an old FL Studio build! I love the sounds he got from it.How did you source sounds for this one?We ended up doing extensive sessions in a supercar garage in Paris, various metal factories, the RATP Train Factory, junkyards, a printing factory, a big designer wood and metal workshop, all the way up to the Verdon Canyon.TC: We all started to gather inspiration sounds, footage, articles from games, films, blogs etc We tried to deconstruct all this into various categories of sounds to record. We then scouted for great locations where we could have a good balance between environmental noise and interesting things to record. We ended up doing extensive sessions in a supercar garage in Paris, various metal factories, the RATP Train Factory, junkyards, a printing factory, a big designer wood and metal workshop, all the way up to the Verdon Canyon where we recorded great metal and stone impacts and footsteps in an unusual place on top of a mountain where the acoustics and silence were just mind-blowing!
DESCRIPTION:. In Alaska: Quiet Nature, get a collection of serene ambiences from Lake Clark National Park, Alaska. Hear the immense sparseness of glacial valleys and still water. Hear massive halls of wet wood that envelop and transport you to a long-lost time. Hear the tranquil beauty of boreal forests untouched by human hands during days of endless light. Hear lonely moose tromping through beaver ponds and haunting hoots of Northern Saw-whet Owls.
This library is packed full of tracks with sparse flora and fauna from the lonesome landscapes of the Arctic. Hear the sounds of this stunning natural cathedral while the nearby glaciers remain. The ecosystem won’t sound the same when they’re gone.2% FOR THE ENVIRONMENT & CARBON NEUTRAL:. Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!.
Carbon offset credits were purchased to offset my field recording travel for this library. KEY FEATURES:.
Soothing quiet nature ambiences with minimal flora and fauna. The haunting hoots of Boreal, Northern Saw-whet, and Great Horned Owls. Eerie nighttime creature movement. Wing flutters, flybys, and takeoffs.
Robot Sound Effects Movement
Lone moose tromping through a beaver pond. Wilson’s Snipe – winnowing.
Sparse forest birds singing. Distant echoes of shorebird songs. Days and nights in the beaver pond filled marshland. Days and nights in the boreal forest.
Soothing distant water and wind. Ultrasonic bats.
RECORDING STORIES:. Hear an interview about my Alaskan Expedition on. This library pulls the best quiet nature moments from over 150 hours of recordings in the Alaskan wilderness. For Alaska: Quiet Nature, I focused on two ecosystems: lakeshore and boreal forest.
The first half of the trip focused on the marshland around beaver ponds and the lakeshore of. These recordings are full of sparse and resonant shorebirds, soothing distant water, and a lone moose tromping through the water right in front of my mics!. The second half of the trip was spent in the boreal forest. With the help of my waterproof (read more about the waterproofing – ) I was able to record continuously for 7 days!. The I use to power my MixPre-6 can run 3 channels recording at 192kHz/24-bit for about 18 hours.
So, I usually left my mics in the woods from about 5:00 pm until 11:00 am the next day. The next morning, I’d hike out, change SD cards and batteries, and move the mics to the next location I found in my explorations the previous afternoon. In this way, I was able to record about 18 hours per day for 7 days in a row. The mics never left the woods and survived curious Grizzly Bears, blustery winds, and several rainstorms!. After growing up in the American Southwest, one of my favorite things about Alaska is the lack of snakes, ticks, scorpions, and poisonous ivy.
You need to be VERY aware of the dangers of bears and moose, but having the ability to bushwhack without constantly watching for things that sting or bite you was amazing. It is one of the best feelings in the world to be wandering freely through the boreal forest of Alaska. Just listening and hiking and listening and hiking and listening. DESCRIPTION:. In Alaska: Lake Waves, get a small collection of soothing waves from Lake Clark National Park, Alaska.
Hear the power of the wind as it builds waves down the 40-mile lake. Hear gentle crackling through rounded pebbles and sloshing boats at dock. Hear crashing swells and trickling water percolating through wet rocks. This library is full of tracks with soothing water from the rocky shorelines of the Arctic.
Enjoy the melodic, gurgling water only rocky shorelines can create.2% FOR THE ENVIRONMENT & CARBON NEUTRAL:. Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!. Carbon offset credits were purchased to offset my field recording travel for this library. RECORDING STORIES:. Hear an interview about my Alaskan Expedition on. Lake Clark is about 40 miles long and 5 miles wide.
With this massive lake, conditions can vary from glassy, to gentle lapping, to white-capped swells in the same day. The size of the lake mixed with the rocky beach made for excellent recording conditions. If you ever want to record waves, get knee or chest waders. These are invaluable, especially when the water temperature is just above freezing. I was able to wade out among the rocks and capture some lovely swishes and gurgles as the waves broke against the shoreline.
My favorite sounds from the library are the “crackling” waves. These waves crackled like carbonated water! This was an extremely soft sound created by a gentle wave breaking among small pebbles.
I was able to capture this lovely sound by holding my DPA 4060s a few inches above the water as the wave broke. Recording of a 1945 Boeing B-17G Flying Fortress from World War II, an American heavy bomber with four Wright R-1820 Cyclone engines.The Boeing B-17G Flying Fortress sound fx collection includes 190 clips in 10.81 gigabytes of audio. It showcases the sound of the Sally B, a 1945 American heavy bomber with four Wright R-1820 Cyclone engines.A total of 26 synchronized field recordings share 9 onboard and 9 exterior perspectives. The onboard microphones were placed in the cockpit, the bomb bay, nose, and engine to capture multiple steady RPMs and engine swells. Exterior microphones were arranged around the bomber and airstrip to record flyovers, takeoffs, landings, and taxiing.
Also included are performed effects of switches, cawl flaps, alarms, switches and more.The collection includes Reaper and Pro Tools sessions for easy mixing, as well as full Soundminer, BWAV, and MacOS Finder metadata in every clip. Recording of a 2013 Lotus Exige-S with a supercharged 3.5 litre V6 6-speed Toyota EC60 engine.The 2013 Lotus Exige-S sound library includes 177 sound effects in 15.64 gigabytes of audio. It presents 15 synchronized takes across 28 channels from the 2013 British exotic car and its supercharged 3.5 litre V6 6-speed Toyota EC60 engine.The 15 takes include onboard and exterior field recordings. The onboard takes gather paired recordings from the engine, exhaust, and interior. Performances from the 5 exterior perspectives include driving with steady RPMs, with gearshifts, and with ramps. The 9 exterior perspectives arrange Neumann, Holophone, Sennheiser and other microphones on straightaways and at corners to share starting and stoping, departures and arrivals, and passes at slow, medium, and fast speeds.Every clip is embedded with 18 fields of Soundminer metadata, plus BWAV metadata, and MacOS spotlight metadata, as well as metadata keyword import files in 7 languages.
The collection is packaged with Pro Tools and Reaper sessions with all fx pre-aligned to allow editors to begin mixing and editing immediately.
Download royalty-free robot sound effects online: Created with video game developers, animators and sounds designers in mind, our sample packs and sound libraries provide a wide range of extremely flexible recordings: robotic arm moving, large servos, hydraulic and pneumatic systems, mechanisms and more, very useful to create intimidating walking droid combats, small bots, bio mechanical creatures, cyborg mutations, Transformers and Terminator battle sequences, tank-class quadrupedal mecha robots, giant robot footsteps and movements. Also available a vast selection of sci-fi weapons such as flying rockets, missile explosions, futuristic blasts, anti-aircraft weapons and rotary cannons. All sound effects are instantly downloadable and ready-to-use use in all sound design projects.
'Heavy Metal Impact Sound Effects' from Bluezone Corporation contains a selection of 126 carefully recorded metallic impacts. This sample pack offers a wide variety of different clanks and clunks: from big and weighty industrial container to deep and large fuel tank, old and rusty sheet metal to huge steel door, this hyper-detailed sample pack is a powerful addition to any contemporary sound design production.Moreover, all sounds in this collection are ready to use and perfect for all sorts of projects: the metal clanking and dropping sounds are carefully processed and can be easily used in modern electronic music productions. Bluezone releases 'Dark Mesa - Industrial Ambiences and SFX', a new selection of designed industrial sound effects. Created from field-recordings, this sample library features many different versatile sounds. This downloadable sample pack contains 144 WAV files and offers a large variety of elements to create your own sequences: Industrial / underground lab background ambiences, metal impacts, crackles and electric signal sounds, rusty doors / freight elevator and more.
Like all Bluezone sample packs, you can inject these inspirational elements into your commercial projects without having to worry about any additional licensing. Bluezone releases 'Metal Sound Effects', an impressive selection of designed metal sound FX. Created from field-recordings, this sample library features many different versatile sounds ( 705 MB / 201 WAV + 201 AIFF files ) like factory machine clanks, metal devices, heavy industry and mechanism sequences, rumbling and scraping transitions / whooshes, massive impacts and many other mangled textures.Recorded with a Neuman RSM191 and a stereo setup of Barcus Berry 4K contact mics, all sounds in this collection are ready to use, or can be edited and layered to create complex backgrounds. 'Metal Sound Effects' is pre-formatted for. Bluezone Corporation releases 'Signal - Communication Sound Effects' a new sound design library delivering a wide range of transmission sound FX, static and evolving noise background sounds, pulsing electric signals, radio interferences and more. This downloadable sample pack contains 236 meticulously recorded WAV audio files and offers a large variety of elements to create your own sequences.This sound library is loaded to arm all video game sound designers, film and documentary editors with an arsenal of communication audio elements such as: beeps, morse code, spatial telemetry, long and short signal modulations. 'War Zone - Designed Explosion Sound Effects' from Bluezone Corporation contains a solid arsenal of sound FX for documentary / film editors and video game sound designers.
A huge choice of recorded and designed sounds are loaded in this downloadable sound library: whooshes, debris, cannon shots, beeps, countdown, explosions. All sounds are ready to be used as they are in your projects or can be layered to create complex war ambiences. Among the 170+ samples available in WAV and AIFF, this new explosive sound library offers a wide choice of devastating sounds: 'War Zone - Designed Explosion Sound Effects' is ideal for TV sound design.
'Metal Impact Sound Effects' is a new sample library providing a wide collection of recorded, meticulously edited and layered metal sound effects. This sample pack contains 161 metallic impacts in WAV and AIFF format for Trailer, Video Game and Cinematic sound design projects, as well as powerful additions to any comtemporary music production. The impacts were recorded using various objects: cargo containers, anvils, industrial parts, medium and large fuel tanks, crashing debris and much more. Whether you want to add dynamic, hyper-detailed and heavy metallic hits, loud iron clangs and metal drops to your projects or create background. Directly out of the Bluezone Corporation studios, 'Skynet Prototype - Military Robot Sound Effects' is an amazing new sound effect library providing editors and sound designers with new and innovative ideas for their challenging and creative projects.
This sample pack offers extensive possibilities with no less than 209 wav files ( 900 MB Data ) covering a wide range of sounds including chain tracks, impacts, machine gun bursts, radio transmissions and much more. This professional sound library has been created with high quality recordings and treated using complex synthesis techniques.
A huge choice of designed sounds are loaded in this. Bluezone Corporation releases Exosuit - Hybrid Exoskeleton Sound Effects, a new sound design library offering no less than 250+ samples for cinematic and video game productions. An intense sound morphing feature: this robot suit sample pack was created with meticulously sampled sources and twisted using complex synthesis techniques. This highly specialized sample creation generates a rich and phat sound, offering a large variety of elements to create epic fight sequences and mech battle scenes. Exosuit contains a large number of armored sound FX ready to use. Inside this turbocharged bio-suit you will find an arsenal of mechanized pieces.
Bluezone Corporation releases 'Assault Mech - Robotic War Unit Sound Effects' a new awesome sound library featuring 272 high-powered robotic sound effects for video game sound designers, cinematic productions and multimedia projects. This epic collection of sound effects features an incredible array of world class robotic sound design elements, incorporating SFX as: deploy sequences, footstep elements, emotion and language expressions, body impacts and hits, heavy main and secondary machine guns, and many more.
Produced by the Bluezone Corporation team, this cutting-edge science fiction sound library has been created with an amount of.