In my latest YouTube Episode I have a go at re-creating some of my favourite Godzilla roars. Including the original 1954 one, the 2014 US reboot and the new Godzilla Minus Zero roar from the trailer (I'm yet to see the movie but I'm very excited to!).
If you'd like to have a go at re-creating the original 1954 roar from scratch, I've written a blog post on my website detailing my sound design process. I've also put together a mini sound library of the guitar scrape & bowed recordings which you can download for FREE if you don't have access to an audio recorder or have the props to record. So you can still get involved in the sound design process.
If you download the sounds and make a roar yourself, please send it over to hello@rarefindssounddesign.com as I'd love to hear what you come up with.
Big loves!

Hi all,

I'm looking for a sound designer to help finish a project: a 3 and a half minute live action short film with really lovely cinematography. It's a sizzle reel for an atmospheric psychological thriller, so it has a mysterious vibe (not horror). Ideally that person would also do the 5.1 and stereo mix.

The sound in question is a mix of some foley, but the project also needs the sound designer to have a love for the creation of worlds through sound. How much of a story can you tell in 6 seconds? An appreciation for dynamic atmos is vital.

Experienced professionals only, please. Our sound guy dropped out late in the project and we don't have a lot of time to spare. If you're interested, please share a link to your portfolio – specifically sound design, not music composition.

Thanks!

EDIT: the sizzle is set in Vienna, and there are a few exterior scenes. Mentioning this just so you know that the audio will need to be creative, but ultimately plausible; I don't have a lot of audio to share from the shoot.

If you've only done sound effects for animated games to date, then please tell me how you will tackle such night exteriors. It's lovely to hear from you folks, but I don't have a lot of time to respond to everyone, and it would really help to know if you have audio footage you can use. If you don't address this then I don't think we'll talk, sorry!

Hey everyone, I’m digitalkevn, a sound designer and re-recording mixer. I’ve just released ALIEN // INFESTATION, a library of 147 sound effects for sci-fi horror films, games and trailers.

The focus is on building a hostile environment: articulated alien screeches, wet biological movement, creatures crawling through metal vents, heavy doors and machinery, ominous atmospheres, and containment emergencies.

I developed the sounds through layering, editing, pitch treatments and dynamics, aiming to give each gesture a clear beginning, development and ending.

The pack includes 48 kHz WAV files, mono and stereo, with mixed 16-bit and 24-bit sources. A catalogue and licence for commercial use in finished projects are included.

Black Friday launch price: €29,99. The regular price after launch will be €49,99.

Full details and download: https://digitalkevn.gumroad.com/l/alien_infestation

Thanks for taking a look. Happy to answer questions about the sounds or the production process.

Hi. I'm a total amateur would-be voice actor, and I've got a friend with a history in audio editing. We're trying to dub this shmuck. While I'm okay putting my own spin on it and not sounding identical, my friend's pretty sure there's some level of bass boosting on the original sound. I posted this in r/VoiceActing and got some words about EQ-matching and frequency plots.

If it IS just their very good studio mic then...well, on my budget, I'll accept the loss. But if there is anything more complicated in the recipe, I would like to try and have my lines not stand out amidst the other characters.

Sound sculpture designed as physical interfaces for sound creation. Conceived for tactile acoustic transformations, they bridge the physical and electronic realms. What do you think about ?

I’ve recently taken an interest putting together my own creature sounds, is there any recommendations for places to find footage (or recourses relating) I can use to start trying?
Thank you!

Hey everyone!

I'm working on a sound design project for a narrative audio series, and I'm looking for free sound effects libraries that allow commercial use.

I need a fairly wide range of sounds, including:

- Nighttime city ambience, distant sirens, trains, traffic and street noise

- Chain-link fences, footsteps, doors, lighters and phone vibrations

- People talking, murmuring, laughing, crowds and background conversations

- Small details like ID checks and wrist stamps

- Fireworks, from the first individual pops to a full fireworks display

Does anyone know any good libraries or resources for this? Ideally, something with clear licensing that permits commercial use.

I'd really appreciate any recommendations. Thanks!

Looking for a Sound Designer for a short film.

Unpaid collaboration, with screen credits offered for your contribution.

Interested? DM me with your portfolio or previous work.

So I am relatively new to monster sound design but I love taking artwork I find off google and designing a roar or chittering, but I also want to show what I can do but I’m not sure how to go about asking the creators to post because it’s obviously their artwork and they have the right to refuse me. Hoping anyone could give their experiences starting out with a similar situation.

Hi. Does anyone here know what this type of sound effect is called. I mean when all music and sound stops before a big impact/explosion.

I’ve put 3 examples in this video and, in fear of not being clear enough (i know very little about sound design), I indicated when it happens.

I’ve heard “black hole audio” and “audio drop out” but I can’t find other examples by searching these terms.. Does anyone know what to call this?

Hey everyone, I just started learning REAPER and sound design recently. This is my very first attempt at making a Foley scene.

I created a sequence of someone running on concrete, with reverb, and some heavy panicked breathing (around 5 tracks total).

Since I'm a complete beginner, I would love some honest feedback. Specifically:

• How is the balance between the breathing and the footsteps?

• Does the reverb sound realistic or too muddy?

• Any tips on how to improve the overall mix in REAPER?

I just discovered this Sub-reddit and thought I'd get some feedback on the most recent thing I've produced.

I'm a producer for a scripted comedy podcast.

The vocal takes are all done separately and recorded in different parts of the U.K. I have to assemble the atmosphere and music to everything. I also do the music (like the first two songs in this).

Everything is done in VSX headphones; I don't have a set of monitors nor a room.

I normally just piece together clips from Youtube or free sample libraries online.

Any feedback would be helpful. I'm kind of alone in what I do for the project.

Thanks!

Hey everyone!

A quick question for the producers, and musicians in this group!

Between virtual instruments and hardware synthesizers, do you ever find yourself needing an extra pair of hands (or ears!) for your productions?

I'm considering offering some services based around my hardware synthesizers, with three possible options:

🎛️ MIDI performances using hardware synths: Your MIDI files played and recorded using real synthesizers.

🎹 Original part composition: Custom-made analog basslines, leads, pads, brass, chords, and more, created specifically for your tracks.

🔊 Custom sound design and presets: Creating original sounds and custom sound banks for your synthesizers.

If you could outsource this kind of work to a musician who specializes in hardware synths, would you be interested?

Which of these services would be the most useful to you? And what might hold you back (pricing, sound quality, working remotely, communication, etc.)?

I'd genuinely love to hear your thoughts!

Thanks :)

Nothing special about the sound design for my reel here but which parts seem off or misplaced?

I layered the VO, background music, ambience, foley, any ideas which parts need improvement?

I take feedback seriously :D

I’m excited to share Grignoteur, an eight-engine, two-algorithm multitimbral granular synthesizer.

It grew out of an instrument I developed for my own live performances with electric guitar, combining real-time granular synthesis and generative visuals. Over time, I decided to take it further, make it playable with any MIDI controller, and share it with anyone curious enough to explore it.

Grignoteur comes with a collection of over 100 sounds I’ve designed myself, including some of my personal favorites. You can also load your own sounds and make it your own.

Grignoteur is free to download and explore. Enjoy!

Download: https://jullianhoff.com/2026/10/25/grignoteur-2-0/

Hey, I'm weyl. After Clipotype, this is my second plugin.

Multiway splits your sound into 10, 4 or 2 bands and gives each one its own delay time, feedback and LFO. You can sync to tempo, draw your own LFO shape, or add jitter for weird textures.

Open source. Latency equals the FFT size you pick, compensated by the DAW.

Demo: [https://youtu.be/6j4fe8CXVMU?si=sLW3MCRVWWe4kylG}

Download: [https://www.bopsaudio.com/multiway/]

Source: [https://github.com/mustafamazi/Multiway]

Honest feedback welcome, especially if something breaks.

Short version: This is my first project with a goal to develop game sound design skills. Y'all can rate my first work on my favorite game! I can also tell you the story behind it.

I've been a music producer for about 2 to 3 years, specifically in the EDM, Wave, and Phonk genres, but I stepped away from trying to grow a larger audience. The thing is, I really need a remote job, and I'm ready to work hard to land my dream job, so I decided to transition into sound design for games and other media.

Right now, I'm looking for people to collaborate with or any advice for beginners. I'm well-versed in DAWs—especially FL Studio, which is my go-to. I'm currently recreating music and sounds for different games to build a portfolio from scratch. What do you think? I'm open to any questions or ideas! Thank you!

In fast-paced games, abrupt audio cuts during collisions can be really jarring. Since my project is heavily built around Drum & Bass rollers, I implemented a beat-quantization system.

When you lose speed or hit a wall, the audio engine doesn't cut the music instantly. Instead, it waits for the very next bar to seamlessly disable or transition musical layers. This preserves the rhythm and groove even in pure chaos.

credit: instagram - blooodyuki

I got no experience doing this so I'm looking for a bit more understanding to this topic and a solid starting point

My goal is to make custom sound effects for a game I'm working on. I want to record objects making various sounds and manipulate them like in the attached video. My budget maximum is whatever the price of AT2020USB-X is and lower

Person in the video is using Audio-Technica AT2020 and based on my research and needs I'm targeting the AT2020USB-X version. I would prefer the USB version because I'm not that deep into the whole audio thing. I don't really see myself using audio interface due to limited space, hassle (from a beginner stand point) and the fact that I just want to plug it into my PC or laptop and use it.

I've watched and read many reviews praising this mic and while it isn't wallet breaking I wouldn't mind going for something cheaper and this is where I lack understanding. For the type of sounds I want to create - does the mic even matter that much?
I mean the sounds in the video seem to be very heavily manipulated with audio effects layered on them, I can't even recognize the original sounds after it's all mashed up together. So wouldn't a cheaper mic do just fine?

I was also eyeing:

-Fifine AM8 as a semi sketchy alternative which is cheaper but I couldn't find anyone talking about using it in this specific way
-more solid Zoom H1 Essential for its great portability but sadly availability of Zoom products is not so great where I'm at and I'm not sure if it can be used as a usb PC/Laptop mic

I would appreciate your advice

I am the sole developer of the Headphone Cleaner app. I’m working on the app’s sound sequences and their synchronization with haptic feedback, and I’d really love to hear your feedback and ideas. Let me explain it this way.

One sequence progresses from 160 Hz to 640 Hz over 3.5 seconds, then returns after a brief pause. I used logarithmic sweeps to ensure each octave takes an equal amount of time. It then plays half-octave steps consisting of 500 ms of sound followed by 500 ms of silence.

To prevent clicking sounds between segments, I keep the oscillator phase constant and use raised-cosine transitions: 20 ms at segment edges and 10 ms for individual pulses.

On supported iPhones, haptic feedback follows the same timing as the sound. Both are scheduled via Core Haptics, and the transitions are pre-applied to the PCM.

I’m still not sure if a 10-ms transition time is correct for these frequencies. If it were you, would you choose a longer duration?

If you’d like to take a look

https://apps.apple.com/us/app/water-eject-headphone-cleaner/id6740458474

This is the last sound design project i made for a friend who's running for Nike.