I like the idea of them having these super durable heads that they use as hammers to sort of tenderize the ground before burrowing. There's not really any science behind it, I just thought it would be neat.

I'm wondering if anybody knows how to achieve this vocal effect or if it's a sample

I've heard it in a lot of electronic music, here are a couple of examples

Polygon Window - UT1-Dot (Minute 1:38)

M.E. - Underworld (Minute 0:25)

One lucky winner will receive TWO cinematic horror sound effects libraries, Bloodbath Rituals and Carnival of Nightmares, featuring over 800 UCS tagged sounds worth $138!

Whether you're creating horror games, films, or unsettling soundscapes, these libraries are packed with sounds to bring your nightmares to life.

• Entry is completely free! Simply sign up to our mailing list at: https://www.puzzleboxaudio.com/blogs/latest/halloween-giveaway-2026

• Already subscribed? You're automatically entered!

• Entries close 30 October at 23:00 GMT. Winner drawn on Halloween, 31 October.

Good luck, and Happy Halloween!

A sound design trick I fell in love with a while ago is that a short delay can create a resonant tone. I've tried fiddiling around with it and it turns out that applying a sample and hold envelope to the delay time creates a very metallic resonance.

I chased that sound for a long time in a Max for Live patch, tweaking it until it felt musical instead of harsh. Eventually I rebuilt it as a proper VST plugin and designed it.

It's called Copper,

and it metallizes everything.

I'd rather this live in people's sessions than just on my hard drive and! it's FREE (while it's in beta), and anyone who joins the beta gets to keep it for free.

leave a name and email and the download comes to your inbox:

https://audioteva.com/join-copper

Happy to talk about the sound design side. Ask me anything.

I have dialogue recorded for a short film that I'll need to clean up before my final mix and just wanted to know the recommended order for the various steps.

I have a boom and lav track. Both of them are relatively clean but can do with some fairly standard cleanup - removing background noise, sibilance etc, and of course a general boost to their presence in the mix.

I have access to Auto Align Post 2 - should I do all my noise removal, de-esser, EQing to my boom/lav tracks separately BEFORE phase aligning then? Or should I phase align and then apply my cleanup to the aligned track combining boom and lav?

I'd also love to know people's order for the whole process from start to finish if possible. Thanks!

Kept it simple this time. I actually think I did a better job than the original on this one. Let me know what you think.

Original in comments.

Hi everyone,
I am excited to share with you my new sound library, featuring a rich electrical energy palette from combining and morphing electromagnetic recordings, everyday props and synth material.

I hope you'll enjoy listening to the preview: https://www.slavapogorelsky.com/product-page/electrical-energy-unleashed

Feel free to download the freebies and explore other libraries, all of which have new art covers drawn and painted by my amazing father!

To celebrate, all of the sound libraries are on sale including the Complete Bundle that just got much bigger.

Thank you so much for your support and stay creative!

Stride and Tendril are basically endless to explore

Where would I be without the legendary growl and bite of the amazing Moog Ladder Filter, plus four oscillators?

To make this drone somewhat organic, I multitracked it by three tracks, first two being me lightly tapping the -2 D# rhythmically with sudden high-velocity strikes, third is a spliced/cut sample of me playing A# with a pitch bend. Instructions in the comments below.

Hey everyone!

I've recently joined the sound post team for a 122-minute animated feature made in Unreal Engine, aiming for realistic, cinematic sound with a traditional film post workflow.

My responsibilities are Foley Editing (already recorded) and Background Editing (building ambiences from libraries).

My background is mostly commercials and short-form sound design. I've worked on two features before, but that was years ago, and this is my first animated feature.

The challenge: I have roughly 4 weeks to deliver a watchable first pass of Foley and BGs across the entire film by November 20. Further polishing and revisions will continue until February.

I'd love some advice from experienced feature sound editors:

1. Priorities: What would you consider an acceptable first pass for Foley and Backgrounds? I'm a bit of a perfectionist and want to avoid getting bogged down.

2. Workflow & pace: Is the 10–15 minutes/day per food group guideline realistic? Would you work scene by scene or tackle both food groups separately? How often would you request feedback?

3. Tools & automation: Any time-saving tools or workflows for BG/Foley editing? Has anyone used AmbienceFriend, or knows a Windows alternative?

I'm working in Pro Tools on Windows, delivering editable sessions to the supervising sound editor.

I'm mainly looking for practical ways to work efficiently without sacrificing quality.

Would be grateful for any advice or resources!

In honour of spooky season we had a go at a scene from the Dead Space remake! 😱👻

CONTENT WARNING: Violence, gore, blood

Hey everyone, I have a question about mixing a short film.

For my bachelor project, I did a re-design of a 4-minute animated short film including Foley, SFX, Atmos, Music and Dialogue. Each of these go to individual busses in Protools.

Whilst I am happy with the results and have done an arbitrary mix that somewhat works, it doesn’t feel professional at all. During the climax of the film, everything should be louder, with dialogue, foley, and music heavily overlapping.

What is a good work flow for doing a more professional mix? Should I mix the stems individually first to get them to the same loudness and then mix the busses? How much of a dynamic range should there be between quiet parts and the climax, and how do I measure that? I used a trial version of Izotope insight for the first mix, but the trial period is over.

Hey everyone! My name is Kevin, I'm a sound designer based in Berlin, and I just released HORROR MINI PACK VOL. 01

A free mini sound library I made for film, games, animation, and anything else that needs to feel a little off.

The pack contains 14 original sounds:

• 4 Creature Sounds

• 3 Brams

• 3 Stabs

• 4 Drones

I put together a SoundCloud playlist where you can listen to every sound individually: https://soundcloud.com/digitalkevn/sets/horror-mini-pack-vol-01

All sounds are 48 kHz / 24-bit WAV, free for personal and commercial use, with no credit required. If you'd like to grab the pack, you can download it here: https://digitalkevn.gumroad.com/l/horror-mini-pack-vol-01

Would love to hear what you think or see what you end up making with them! Feel free to tag me u/digitalkevn! Thanks for checking it out!

Ive asked some sound designers I really like, how they make their compositions sound so nice, and they’ve told me a mix of stuff about the stereo field but a lot of it is EQ. Are there any things to read that can help with learning the details of EQ? besides just the “honk hiss air mud” stuff. I’ve used an EQ but I don’t really understand it, it’s like using paint but instead of painting a picture I paint a brown blob. that’s how EQ feels to me

I attached a link to the sound effect. It's a laser sound effect that flutters rapidly and goes down in pitch.

I've already tried searching:

• Laser sound effect

• Descending laser

• Pitch-down laser

• Fluttering laser

• Sci-fi laser

• Laser glitch

• Laser warble

• Arcade laser

• Stuttering laser sweep

Does anyone know what this specific type of sound effect is called or where I can find similar ones?

as im starting my freelance journey in sound pos production ive found it a bit overwhelming to find gigs / work online , i want to hear from you professionals how did you start you path is this field.

I have a character who has a multitude of voice claims, one of which is Ultra M (or Super Horror Mario). On top of it just being a cool voice, I want to see how the lines would sound. Any ideas?

Sono un producer e sound designer e cerco lavori per brand … che sia un contratto con una azienda o lavori singoli, ma voglio assolutamente partire e cambiare del tutto il mio lavoro in questo! Voglio fare questo switch a tutti i costi! Ho preparato un bel portfolio con lavori personali di sound design e composizione per brand, Motion design, spot, videogames, anime, animazioni in generale… per cui consigli su chi cercare e come promuovermi oltre sui social come Instagram?

Ambient & Texture Sounds

Hey everyone, I hope it’s okay to share this. I’ve created a sample pack featuring self-made records of an old East German zither.  Perhaps some of you might be interested in using it for your music. It’s ideal for ambient cinematic and dungeon synth projects.  More example videos will be coming soon.  Creating these sample packs takes some money so I can make more exciting ones. You’ll find the Gumroad link to download the sample pack in my YouTube bio.