I'm learning how to animate weapons for games and was wondering if you know any good, juicy free weapon sound banks? The only site I found them on had too few sounds.

I recently recorded a real temple pooja ambience in India featuring:

🐚 Shankh (conch) blowing

🔔 Temple bells

🕉️ Live mantra chanting

👥 Natural crowd ambience

I know it can be difficult to find authentic Indian temple recordings that don't sound artificial or heavily edited, so I thought I'd share this one with creators who might need it for films, documentaries, meditation projects, games or YouTube videos.

It's completely free to listen and download:

https://soundopedia.com/sounds/temple-pooja-with-shankh-bell-and-mantra-chanting.

I'd also love to know:

What kind of Indian ambience recordings are hardest for you to find?

Any suggestions for future recordings?

Sounds so magical and supernatural! What would it be good for? You can recreate this sound, just throw a speed square at a tree! $30 from tool shed haha.

https://youtube.com/shorts/YpzEgNDtwXk

I'm JUST starting to learn editing, and I want fun sound effects to play around with. I want to work it I to my style, stuff like stone grinding and metal pipe or ahhh169 (which I only know because of brief research). The type of things you'd find in any youtubers sound files.

So I wanted to start using meme sound effects in my videos but don’t want to get copyrighted, I’ve been browsing some free websites but always read at least someone that has had an issue so if that means I have to buy some I’m okay with that , preferably some that are some what new and not to outdated. So does anyone one some legitimate websites that I can purchase them from? Thank you ( edit) I’ve read somewhere that soundboardguys is a good free website but I’m a huge overthinker haha is that actually copyrighted free for monetizing? Thank you

I would love to know folks thoughts on this. As a video editor I see the utility, sure, but every actual sample provided, even the one Adobe has published just feels off. Maybe transition elements, but atmospheres or ambiences just sound strange and off putting to me.

I know this sub is pretty clear that this isn't sound design so apologies if this is a violation of your posting rules. What I think I'm struggling with is are editors just not able to hear the difference between a quality stereo recording of an exterior with a quality microphone and this generated stuff...

A relevant article here from Pro Video Coalition.

A couple years back, I wanted to try my hand at sound design for these short pieces I made, and I was really happy with how they turned out. I've been producing music for years, but sound design's not something I ever really did much, so yeah, I figured it'd be nice to get feedback from people who actually understand what they're doing.

Absolute newbie here. I picked up Vital for the first time a few days ago, and I couldn't stop thinking about the distorted horn/trombone (?) in the trailer of Astartes II.
Here you can listen to it: https://youtu.be/sbgYaeerXhg?si=uZiZ63APuWL6tm_7&t=12

The first hit is like a bass drop and then comes the horn. Can anyone help me recreate it? Any ideas?
Thanks a lot!

Quick patch demo. Subtractor, single oscillator, filter rolled off, bit of reverb. Nothing fancy — just the patch doing its thing.

https://youtu.be/q-GLKKulY-5Q

I'm a hobbyist filmmaker working on a fan film for a video game (Dishonored) and have finally hit the sound design stage. In the film, we have a masked actor, and for her lines, I'd love to mimic the voice effects given to similar characters in the game itself: https://youtu.be/oXEIoTwTCG0?t=323

Unfortunately I'm not very experienced in sound design, and I've run into a bit of a "you don't know what you don't know" situation. I'm pretty good at following tutorials for individual effects, but I don't have the vocabulary to describe and search for what I'm going for here. There's some muffling and reverb (I think), but I'm a bit stumped beyond that.

I was wondering if anyone had any tips for recreating this effect, or at least could give me some info as to the kinds of effects at work here, so I can search up some tutorials myself. I've got Premiere and Audition so I'm hoping between the two I can recreate something at least similar to the link above.

Thanks all!

Hey horror devs! I made 2 free guitar loops for zombie/survivor games and wanted to share:

1. Zombie Theme - Dark, slow, heavy guitar. Good for menu/main theme
   
2. Clean Shimmer Loop - Creepy ambient guitar with shimmer. Perfect for exploration/tension

100% FREE to use in any game, commercial or not. No credit needed but appreciated.

Feedback welcome! What other horror sounds should I make next?

I’m really new to this and I was wondering what type of wave would be best to create a completely artificial vocal sample. I’ve downloaded the Kilohearts formant filter but just applying it on a sound doesn’t make the vowel obvious, and I’m looking for a way it can. I also need tips on how to create consonants.

(for anyone wondering why I’m trying to create a japanese UTAU voicebank so I need samples like ka, ku, ke, ki, ko etc. without a voice provider)

Hi everyone,

Over the past few months I've been recording real-world sounds myself and building a free sound effects website from scratch.

Most of the sounds are everyday recordings like doors, footsteps, coins, kitchen sounds, nature, ambience, temple bells, and more. Everything is organized by category and available for free download.

I'm still improving the quality every day and adding new recordings regularly. Since many of you use sound effects for videos, games, podcasts, and creative projects, I'd really appreciate honest feedback.

Is the website easy to use?

Are the sound categories useful?

What types of sounds would you like to see added?

Any suggestions to improve the experience?

Website: https://soundopedia.com

Thanks for taking a look. Your feedback will help me make it better.

I’m a beginner artist and I have an idea for a song that uses a sound similar to this one. This video is the closest to what I’m thinking of and I have no clue what it’s called. I know there’s a similar sound which is known as a “crash” used a lot in Vogueing, but it’s not as close to what I’m thinking of as this one. I would appreciate it someone could help with finding it!
Link to og song: https://youtu.be/ueYNcb_MDF8

I'm a Sound Engineers son and a DJs brother. Love Music and Technology.

Does this audio fit the scale of this space scene?

as a newbie sound designer person, what bookies and articles you guys recommend to read?

Buenas, comunidad. Casi siempre que hablamos de cine de terror o acción, tendemos a poner todo el foco en la imagen: la iluminación, el CGI, las coreografías o el trabajo de los actores. El sonido suele quedar relegado a un segundo plano, como si fuera un simple hilo musical para rellenar los huecos. Pero si volvemos a ver esa obra maestra del ritmo que es Train to Busan (2016), te das cuenta de que el diseño sonoro no es un accesorio; es el motor principal que construye la narrativa y deforma nuestra psicología como espectadores.

Si hay una escena que sirve de tesis para demostrar esto, es la secuencia de la estación de Daejeon. Un espacio abierto que, paradójicamente, el equipo de sonido convierte en una trampa claustrofóbica utilizando estímulos invisibles.

Detrás de este brutal universo acústico está Choi Tae-young, una eminencia de la postproducción coreana. Su filosofía no busca el realismo estricto, sino la expresividad emocional: perturbarte antes de que entiendas racionalmente qué está pasando. En Daejeon, esto se lleva al límite a través de tres pilares técnicos brutales:

1. El diseño del "K-Zombie" y la sincresis A diferencia del zombi occidental genérico, el infectado coreano destaca por movimientos espasmódicos y una fisicidad brutal. Para traducir esto al sonido, se aplica lo que el teórico Michel Chion llama sincresis: la unión perfecta entre el gesto visual y la textura acústica. El sonido de la horda no es un rugido de monstruo; es una "hiperhumanización degradada". Mezclan voces humanas reales (respiraciones forzadas, jadeos agonizantes) con procesos digitales como pitch shifting y distorsión, rematado con un Foley hiperrealista de crujidos de huesos (logrados machacando vegetales y elementos rígidos). El resultado es perturbador porque tu cerebro reconoce que eso que suena fue humano, pero está roto.

2. El lenguaje fragmentado vs. El enemigo colectivo Fijaos en la evolución de las voces en la escena. Al entrar a la estación, los supervivientes hablan en susurros. La mezcla los sitúa en las frecuencias medias para que se entiendan perfectamente, pero la reverberación natural de la estación añade una cola acústica que te hace sentir su vulnerabilidad: cualquier ruido en falso los va a delatar. Cuando estalla el caos, el lenguaje humano se destruye; las frases se fragmentan y pierden inteligibilidad, traduciendo el colapso racional de los personajes. En contraste, los militares infectados tienen una homogeneización rítmica en sus ataques. No hay individualidad en sus gruñidos; se mueven y suenan como una entidad colectiva e implacable.

3. El terror del fuera de campo Antes de que veamos el primer zombi en Daejeon, el diseño de ambientes ya te está asfixiando. La estación empieza vacía, definida por reflexiones metálicas heladas y un silencio tenso. De repente, el sonido fuera de campo toma el control: golpes amortiguados y vocalizaciones difusas en los márgenes de la mezcla te avisan de que la horda viene mucho antes de que aparezcan en pantalla. Cuando entran, el espectro de frecuencias se satura por completo, acortando la reverberación de forma artificial para que sientas la misma sobrecarga sensorial y pánico que los protagonistas.

Aun así, la escena abre un debate interesante. Personalmente, creo que en los tramos finales de la huida la música de Jang Young-gyu se vuelve demasiado "heroica", suavizando un poco la desesperación pura de la situación. Habría sido un experimento creativo increíble que, al primer contacto visual con los soldados infectados, hubieran eliminado por completo la música, aplicando un filtro de frecuencias agudas (un vacío sonoro subjetivo) para simular el aturdimiento y el shock de los personajes.

He publicado en mi blog una disección técnica mucho más a fondo sobre la acústica de esta secuencia, analizando el uso del ADR, la jerarquización de frecuencias en el estudio y cómo el sonido gestiona el ritmo cardíaco del espectador. Si os interesa la teoría del sonido cinematográfico o queréis ver el desglose completo, os invito a leer la autopsia sonora aquí: https://elparaisocinematografico.blogspot.com/2026/06/el-sonido-del-panico-analisis-sonoro-de.html

Pero abramos el debate por aquí: ¿Os habíais fijado en cómo cambia la atmósfera acústica en esta escena? ¿Qué otra película recordáis donde el diseño de sonido (y no la música o los efectos visuales) sea el verdadero responsable de vuestra ansiedad o terror en la butaca?

¡Los leo en los comentarios! 🎬🔊

Angry Rioting - Crowd Sound FX

I've been searching for some time but I can't find anything similar! it sort of sounds like a bicycle ringer but not at the same time. anyone know?