BlindDrive_sound-01 Asbjoern Andersen


How successful would you be at driving blindfolded? The game developer Lo-Fi People has made it possible to find out (in a safe way, of course!) with Blind Drive. Here, we talk with Giori Politi of Lo-Fi People to learn more about the game, how sound is used as the driving force behind the gameplay - and the challenges and possibilities of designing sound for an audio-based game:
Interview by Jennifer Walden, photos courtesy of Lo-Fi People
Please share:
Animal Hyperrealism IV Is Here!

Blind Drive is a dark-comedy, immersive action game that puts the player behind the wheel of a car and forces them to use their hearing to stay alive. That’s because in this game the player is essentially ‘blindfolded.’ There’s very little visual feedback. It’s even recommended to play the game with ones eyes closed.

The rules start off pretty simple: hit a car, lose some health. But there are bonuses to regain health, too — like hitting bicyclists, ice-cream trucks, police cars, and more! Hence the dark comedy part ;)

But the game progressively gets crazier and crazier… (you really have to experience this one for yourself!)

The masterminds behind this acclaimed game are Giori Politi (who handled Blind Drive‘s Game Design, Sound Design, and Level Design) and the team at Lo-Fi People. Their efforts have been rewarded with several award nominations, include one for an ‘Excellence in Audio’ award at the upcoming Independent Games Festival, happening July 21st at GDC.

Here, Politi talks about developing the initial idea, designing the levels in terms of sound, the challenges they faced in created an audio-driven game, how they handled different processing for different environments and situations (like underwater driving, and driving with the windows closed), how they crafted an optimal headphones mix, and more!



Blind Drive - Official Trailer


Blind Drive – Official Trailer

 

In Blind Drive, you have to use your ears to avoid hazards and find bonuses (like hitting pedestrians). How did the concept for this game come about?

BlindDrive_sound-09

Giori Politi, sound designer/game designer

Giori Politi (GP): The idea of the game started as a simple concept — what would it feel like to drive a car without seeing anything, using only your ears? Is it possible at all?

I immediately made a quick sketch of the idea using MaxMSP and showed it to my colleague Doron Terre (who handled Game Design, Screenplay, Programming, Animation on Blind Drive); he thought it was kind of cool so we set about developing this thing.

The original idea was to make a site-specific installation — inspired by projects like Robin Arnott’s Deep Sea — and place people behind a real car’s dashboard. It’s a familiar everyday situation but this forces players to re-experience it in an entirely new light while also helping them to discover that their ears can do things they never dreamt of.

Very quickly it started to get the shape of a more playful experience and so we decided to go full-on video game with this. We sketched a few levels and scenarios and started to fool around with ideas.

The combination of those two themes — sound-based arcade driving + interactive narrative podcast — is what shaped the direction of the game.

At the same time, we needed a way to introduce the gameplay to players somehow and connect all the levels into a coherent whole and this is how the narrative part of the game came about.

We drew inspiration from our love of 90’s crime-comedy movies such as Pulp Fiction, Snatch and The Big Lebowski and added a radio play/audiobook/podcast-style story that plays out over the phone.

The combination of those two themes — sound-based arcade driving + interactive narrative podcast — is what shaped the direction of the game.

 

BlindDrive_sound-02

‘Blind Drive’ Creators Giori Politi and D. A. Terre at Lo-Fi People

Can you walk me through your approach to designing each level in terms of sound? (Did you start with the dialogue record? What were your next steps?)

GP: Dialogue was actually the last thing we added in the process.

Most levels started out with us thinking about a game mechanic or a scene we wanted to try.

For instance, how would you dodge bullets by sound alone? Or what would a police chase game-boss be like?

Then we started sketching these mechanics with the basic sounds needed without overloading it with any unessential information. We would then playtest these levels with family and friends, checking if the main idea actually works.

…we started sketching these mechanics with the basic sounds needed without overloading it with any unessential information.

To be honest, many ideas fell flat at this stage, mostly because they needed a long explanation in order to play them, and we wanted the game to be fast and snappy.

After finalizing the mechanics, I went on creating the sounds needed for the level itself. Every level had its own requirements: the ambience layers, the enemies, damage sounds, etc.

Then we would tie everything to the story, writing and recording the dialogue lines. Each dialogue — apart from revealing more of the main plot — had to serve as an introduction to the level, explaining what the player needs to do.

Lastly, we added all the foley and glued everything to the car’s sound itself.

 

BlindDrive_sound-03

What was the most challenging level in terms of sound design? Why?

GP: By far the most challenging level to design was the last level of the game.

*Spoiler alert*

In the last level Donnie (the protagonist) is driving through the bad guys’ headquarters base. All the while he’s being chased by a helicopter that’s shooting at him, mafia goons shouting and shooting all around, dogs barking, sirens blaring, kamikaze boomers passing at high speed… and if all that wasn’t enough, Donnie’s Grandma is standing on the car’s roof, yelling profanities and holding a bazooka trying to take down the helicopter.

It’s a full-on action scene with many details playing altogether. Just about everything is important and must come across in order for the situation to be understandable and for the level as a whole to be playable.

Just about everything is important and must come across in order for the situation to be understandable and for the level as a whole to be playable.

This was a hard level to mix. It’s a loud and long one, and as it’s the hardest one in the game (players tend to crash there a lot!), we had to find a way to keep the tension high for quite a while without tiring players’ ears.

Finding the right balance between the different elements was challenging. In real life, imagine you have a car’s engine going at full speed, a helicopter circling over your head, and your Grandma is on the roof yelling orders at you (well, not a real real-life situation…), you will simply not hear her voice. If this was a movie scene (and this scene is actually inspired by the end scene of Tarantino’s Death Proof), we’d just pump up the dialogue level and it would feel very natural. In our case though, if we had increased the dialogue level too much, it would have felt like Grandma is in the car with you, so we really had to fine-tune those things.

This was a general theme throughout the game: striking a balance between sound realism and playability.

 

Blind_Drive_sound-05

Did you have a favorite level to design? (And is that your favorite level to play??)

GP: The last level, aside from being the hardest to design, was also my favorite.

I had a really good time recording the foley for this level, going on my car’s roof to perform Grandma’s footsteps and impacts as she falls down when the car gets hit. This particular sound is one of my favorite sounds in the game; it somehow turned out very realistic and every time I play this level and hear her footsteps, I jump a little thinking someone is walking above me.

I had a really good time recording the foley for this level, going on my car’s roof to perform Grandma’s footsteps and impacts as she falls down when the car gets hit.

There are some other sounds in this level that were really fun to create, like spatializing Wilkins the Cat as he flies around your head every time the car gets hit, creating the kamikaze bomb effects as they hit you and make everything sound blurry and generate a high tone ringing in your ear, designing the satisfying moments when Grandma shoots her bazooka and hits the helicopter, and many more. We really went wild with this level!

Also, recording Grandma’s lines with the great voice actress Gani Tamir was a lot of fun; she really nailed it there.

Another level that was really fun to design was the underwater one as it’s very different from the rest of the game. Finally, I could make some quiet sounds that can be heard clearly without the need to compete with the roaring engine.

As for my favorite level to play, I think it’s the Vanilla Abe one with the crazy shotgun-firing farmer. It keeps challenging me every time, no matter how many times I play it.

 

BlindDrive_sound-04

The player experiences different environments and situations, like underwater driving, and driving with the windows closed. Did you create a plugin processing chain to treat all the exterior elements in that level, so that it had a consistent sound? Or, how did you handle that?

GP: In the case of the underwater level, all the sounds were pre-processed in the DAW because they are unique for this level and not shared with any other levels.

For levels such as the windows or the tunnel, there is indeed an effects processing chain in real-time as there are many sounds shared with the rest of the game.

For levels such as the windows or the tunnel, there is indeed an effects processing chain in real-time as there are many sounds shared with the rest of the game.

Each mixer group is handled a bit differently so we have control over the master mix. We have separate mixer groups for external ambiences, external car sounds, internal car sounds (that mostly stay unaffected), enemies, damage, etc. All these groups get slightly different treatment but share the same effects chains for uniformity.

 


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

  • Bundles Audiohero – The Prodigy Play Track 300000 sounds included $5

    Download 50 Sound Effects for $9.99 within a month from a library of more than 300,000 tracks. We give you Access to a wide variety of collections from Sound Ideas and the Hollywood Edge, including categories such as ambiance, animals, comedy, cartoon, crashes, designed sounds, foley, feature film, guns, sci-fi, production elements, sports, surround sound, transportation, and the list goes on! Instead of purchasing a boutique library, choose from an extensive library ala carte. We provide you with the massive audio library without the large cost.

    The sound effects are all recorded in 24bit 96khz down to 16bit 44.1khz. These sound effects have been used in many productions such as feature films, video games and all types of broadcast.

    What you get:

    Purchasing this offer gets you a special code that lets you download 50 sound effects from Audiohero.com within a month. The sounds you get with this purchase are covered under the Audiohero EULA.

    50 %
    OFF
    Ends 1767135600
  • Spell Variations – Complete Collection is the magic sound bundle, combining all 4 spell sound libraries into one package. Inside, you’ll discover an extensive range of spells, elemental forces, dark incantations, arcane rituals, healing charms, summonings, enchanting whooshes, and much more, delivering a complete arsenal of magical sound effects for any creative project.

    This collection features 1,268 premium-quality sound effects, meticulously organized into 143 unique spell types, each with multiple variations to ensure no spell ever sounds the same, even when reused.

    Every spell type is carefully named and organized into dedicated folders, giving you intuitive navigation and maximum flexibility for magical scenes, game mechanics, cinematic transitions, or immersive soundscapes.

    Recorded, edited, and mastered at 192 kHz / 24-bit, these sounds provide exceptional clarity and full adaptability for pitching, layering, and creative sound design.
    An essential library for professional sound designers looking for ready-to-use magical sounds for video games, trailers, animations, or any high-end audiovisual production.

    More about the pack
    – Intuitive file naming
    – All you’ll ever need regarding magical sounds [Use them again & again
    – Use the sound effects over and over, in any of your projects or productions, forever without any additional fees or royalties. Use the SFX in your game, in your trailer, in a Kickstarter campaign, wherever you need to, as much as you want to.
    – Totally mono compatibility
    – All sounds have several variations.
    – Use your imagination and feel free to use any sound for a creature other than the one described, remember that the world of sound is totally subjective.


Latest releases:

  • Hand Combat Sound Effects Violent Combat Play Track 4213 sounds included From: $135 From: $108

    THE RAW SOUND OF CINEMATIC FIGHTING

    VIOLENT COMBAT is a professional sound effects library built for fight scenes that demand impact. Packed with punch sound effects, fight sound effects, and powerful combat sound effects, it delivers everything from raw realism to over-the-top cinematic action. With improved fidelity and greater variation than its predecessor CLOSE COMBAT, this collection gives sound designers production-ready audio for film, TV, and games.

    Violent Combat | Sound Effects | Trailer

    From Realism to Cinematic Exaggeration

    Dial in the tone you need with dedicated categories: Martial Arts, Grounded, Over The Top, and Gory. Whether it’s kung fu sound effects, karate sounds, or exaggerated wrestling hits, you can shift seamlessly from authentic to stylised.

    Successor to Close Combat

    VIOLENT COMBAT builds on the legacy of CLOSE COMBAT with higher fidelity recordings, better-organised categories, and more variation. It’s the ideal companion, giving you the flexibility to cover every style of fight scene.

     

    Sounds That Land With Force

    Recorded with a wide range of props and techniques, each fighting sound effect has real weight. Where needed, selective pre-processing boosts impact, avoiding the flat results of real fight recordings.

    Production-Ready and Versatile

    Equally at home in film, TV drama, high-end game audio, or immersive theatre. From knockout sound effects to stylised fight sequences, Violent Combat is ready to drop straight into your mix.


    Included Sounds – KEYWORDS

    AIR, BODYFALL, CLOTH, CRUNCH, FINISHER, FURNITURE, GORE, GRAB, GRAPPLE, IMPACT, KICK, LEATHER, MARTIAL ARTS, METAL, MOVEMENT, PLASTIC, PUNCH, SLAP, SWISH, SWOOSH, THROW, WHOOSH

    20 %
    OFF
    20 %
    OFF
    20 %
    OFF
    20 %
    OFF
  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

    50 %
    OFF
  • 638 meticulously processed stereo fire spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of fire spells. It also includes source sounds for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

    The library is fully focused on fire spells. You will find simple one shot magic firebolt, powerful high level fire spells, fire sword, berserker enchantments and so on. Spells such as fireball,  firewall, rain of fire, meteor, fire nova, magma storm, pyroblast, sword of Avernus, etc. are included in this library.

     

    THE ARCANE FIRE SPELLS
    38 %
    OFF
  • Immerse yourself in an atmosphere of natural power and tranquility with the “Rain and Thunderstorm” sound collection, consisting of 4 Vol-s.
    This collection features a variety of looped sounds: light rain, night rain with loud thunderclaps, and other effects that will help you create the perfect atmosphere – from a quiet, secluded night, long scenes, or endless atmospheric effects without abrupt transitions, to a dramatic thunderstorm on the horizon.
    The recording was made by a Zoom H3-VR recorder in the Ambisonics A format (96 kHz 24 Bit) and then converted to the AmbiX and Stereo formats (96 kHz 24 Bit), which are located in different folders of this sound pack.

Need specific sound effects? Try a search below:


BlindDrive_sound-06

Binaural car-pass recording

What format did you mix in? The sound is optimized for headphones, and that’s a really critical part of the game! Can you talk about your use of the surround space, the challenges and opportunities this game afforded you in terms of spatialization?

GP: We mixed the game in stereo as it is indeed meant to be played with headphones. I had many different headphones on my desk while mixing the game, ranging from high-quality ones to cheap earbuds as we had to make sure all important information was delivered no matter what.

In terms of sound spatialization, getting this right was the key challenge of the entire design.

In terms of sound spatialization, getting this right was the key challenge of the entire design. There were three main techniques we used for this.

The first group was mono sounds that went through a binaural HRTF filter. This includes the car’s engine, other cars and enemies, impact and special effects sounds, and of course the dialogue.

They were all spatialized and pre-processed in the DAW, mostly using the great sounding DearVR Pro plugin, and with some custom IR I took in my car in different setups and positions. For instance, the little music parts we have in the game (composed by the amazing Ariel Mann) all went through an IR captured from my car’s radio.

…the little music parts we have in the game (composed by the amazing Ariel Mann) all went through an IR captured from my car’s radio.

The other group was sounds that I recorded using binaural microphones and a dummy head setup in my car. This was done mostly for the foley and for some effects. This is a rather simple technique that turned out to be very effective for the situation and gave us the most realistic results.

Lastly, there are a few sounds that were spatialized in real-time in the game’s engine, mostly the boss fights as their movement in the game is more dynamic and unpredictable (e.g. the helicopter, the police cars, and the gunman).

To glue everything together in the audio engine, we used a few different reverb zones such as open spaces, building reflections, etc.

The voice of the main character is always played in mono and never gets any movement. The idea behind it was that this is the player’s point of view, this is ‘your’ own voice and it should be played inside your head. I wonder if this really comes through in the end result.

 

[tweet_box]Looking into ‘Blind Drive’ with Sound Designer/Game Designer Giori Politi at Lo-Fi People[/tweet_box]

BlindDrive_sound-07

Binaural Impulse response recording

What game engine/audio engine did you use to build this game? Were there any technical challenges to working this way?

GP: We used FMOD for this game and it was a great pleasure to work with!

Originally when we started working on the game, Doron was programming a custom audio engine in Unity, but halfway through the process we switched to FMOD and never looked back.

We also used FMOD to send information back into the game’s engine to drive animations, haptic feedback, and some other cues that are responsive to the sound.

As Blind Drive is all about sound, FMOD really stands in the center here in the technical sense.

We wrote a few custom scripts for it but we mostly used all the normal built-in features and plugins.

Like any other project, there were some technical challenges and we kind of pushed FMOD to the limits here. We were running quite a lot of channels and effects simultaneously, and using everything FMOD had to offer on the logic side.

We also used FMOD to send information back into the game’s engine to drive animations, haptic feedback, and some other cues that are responsive to the sound. This was less straightforward and we kind of had to hack this a little bit, but all in all, it was exactly what we needed.

 

BlindDrive_sound-08

What would you want other game sound pros to know about your work on Blind Drive?

GP: The biggest realization working on this game was that designing sound for an audio-based game is very different from designing sound for a “normal” video game.

On one hand, you are not constrained to any predefined image or animation so you have the freedom to imagine and create any scenario you’d like from scratch.

On the other hand, every little tweak you make in a scene or a level — adding a sound, filtering, changing the level or timing of a sound — has a huge impact on the gameplay itself and can change the difficulty quite a lot.

…designing sound for an audio-based game is very different from designing sound for a “normal” video game.

Another thing that we had to deal with was Bluetooth headphones and the audio latency they introduce, especially on mobile devices where Bluetooth headphone users are about half of all players.

For most games, this mostly means the sound will be a bit out of sync, which damages the experience, of course, but doesn’t kill the game. In our case, where you must control the game by listening to sound only and, in most cases, have to react very quickly as well, it had a huge impact on the game.

Another thing that we had to deal with was Bluetooth headphones and the audio latency they introduce…

When we started working on the game a few years ago, Bluetooth headphones were not as popular as they are today and when we got closer to releasing the game and realized we had no choice but to deal with it, it kind of freaked us out.

What we did, in the end, to get around this was to make a latency compensation option in the menu which basically shifts the whole timing of the game mechanics forward to allow players a bit more time to react until the sound reaches their ears. The latency is still there — things are actually happening before you can hear them, which is not exactly optimal — but at least it is playable and not very noticeable if you don’t know what’s going on under the hood.

 

A big thanks to Giori Politi for giving us a behind-the-scenes look at the sound of Blind Drive and to Jennifer Walden for the interview!

 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • FOUR ELEMENTS - Rock The Speakerbox Professional SFX

    Master the Art of Bending the Elemental Forces

     

    Unleash the raw power of fire, water, earth, and air with this comprehensive 9 GB sound library featuring 3050 high-quality sound effects across 630 files. Whether you’re designing cinematic soundscapes or enhancing video games Four Elements delivers the tools you need to harness the energy of the natural world.

    Construction Kit – 2443 Sounds

    A treasure trove of raw, organic, and processed sounds including seamless loops divided into Fire, Water, Air, Earth and Explosion categories. Customize every detail with an extensive selection of sound components.

    • Organic Fire: Campfire sizzles, torch whooshes, and flame bursts.
    • Processed Fire: Distorted impacts and unique crackles.
    • Organic Earth: Rock crashes, gravel scrapes, and heavy stone hits.
    • Processed Earth: Stylized rumbles and granular textures.
    • Organic Water: Ocean waves, hydrophone bubbles, and fluid splashes.
    • Processed Water: Underwater whooshes and stylized liquid smashes.
    • Organic Air: Bamboo swishes, cloth movements, and pressure bursts.
    • Processed Air: Filtered gusts and dynamic noise sweeps.
    • Explosion: Firework detonations, Butane bursts, and cinematic impacts.

    Building Blocks – 416 Sounds

    Game-ready sound layers featuring Impacts, Whooshes, and Textures as seamless loops. Elevate transitions and enhance atmospheres with loops and pre-designed sound layers.

    • Fire: Explosive bursts, blazing infernos, and warm embers.
    • Earth: Ground-shaking impacts, crumbling terrain, and heavy collisions.
    • Water: Cascading waves, serene rivers, and underwater ambiences.
    • Air: Whispering breezes, stormy turbulence, and slicing gusts.

    Design Kit – 192 Sounds

    A collection of ready-to-use sound effects divided into Attack, Bend, and Explosion categories for quick integration into your projects. Perfect for high-energy scenes and immersive storytelling.

    • Fire: Crackling flames, fiery bursts, and roaring infernos.
    • Earth: Crushing impacts, shifting ground, and massive land eruptions.
    • Water: Splashes, fluid manipulations, and crashing tidal waves.
    • Air: Slicing winds, swirling currents, and thunderous gusts.

     

    Four Elements gives you complete creative control, blending organic recordings with processed sound layers to meet the demands of any project. Master the forces of nature with Four Elements. Let your creativity ignite.

     

    Keywords:

    Elements, Fire, Water, Earth, Air, Wave, Water, Liquid, Rock, Cast, Stone, Pebble, Torch, Gas, Flame, Campfire, Sizzle, Burst, Scrape, Whoosh, Impact, Texture, Attack, Bend, Bending, Explosion, Processed, Surge, Quake, Hit, Flow, Burn, Ignite, Drop, Smack, Destruction, Rumble, Hiss, Blow, Wind, Cloth, Movement, Underwater, Bubble, Ocean, River, Lake, Firework, Firecracker, Bang, Blast, Detonation, Magic, Fantasy, Forces, Fire Magic, Water Magic, Earth Magic, Fire Air, Fire Effect, Fire Whoosh, Water Whoosh, Seamless Loop, Loop, Fire Cast, Water Cast, Earth Cast, Air Cast

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Bundles Audiohero – The Prodigy Play Track 300000 sounds included $5

    Download 50 Sound Effects for $9.99 within a month from a library of more than 300,000 tracks. We give you Access to a wide variety of collections from Sound Ideas and the Hollywood Edge, including categories such as ambiance, animals, comedy, cartoon, crashes, designed sounds, foley, feature film, guns, sci-fi, production elements, sports, surround sound, transportation, and the list goes on! Instead of purchasing a boutique library, choose from an extensive library ala carte. We provide you with the massive audio library without the large cost.

    The sound effects are all recorded in 24bit 96khz down to 16bit 44.1khz. These sound effects have been used in many productions such as feature films, video games and all types of broadcast.

    What you get:

    Purchasing this offer gets you a special code that lets you download 50 sound effects from Audiohero.com within a month. The sounds you get with this purchase are covered under the Audiohero EULA.

    50 %
    OFF
    Ends 1767135600
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Hand Combat Sound Effects Violent Combat Play Track 4213 sounds included From: $135 From: $108

    THE RAW SOUND OF CINEMATIC FIGHTING

    VIOLENT COMBAT is a professional sound effects library built for fight scenes that demand impact. Packed with punch sound effects, fight sound effects, and powerful combat sound effects, it delivers everything from raw realism to over-the-top cinematic action. With improved fidelity and greater variation than its predecessor CLOSE COMBAT, this collection gives sound designers production-ready audio for film, TV, and games.

    Violent Combat | Sound Effects | Trailer

    From Realism to Cinematic Exaggeration

    Dial in the tone you need with dedicated categories: Martial Arts, Grounded, Over The Top, and Gory. Whether it’s kung fu sound effects, karate sounds, or exaggerated wrestling hits, you can shift seamlessly from authentic to stylised.

    Successor to Close Combat

    VIOLENT COMBAT builds on the legacy of CLOSE COMBAT with higher fidelity recordings, better-organised categories, and more variation. It’s the ideal companion, giving you the flexibility to cover every style of fight scene.

     

    Sounds That Land With Force

    Recorded with a wide range of props and techniques, each fighting sound effect has real weight. Where needed, selective pre-processing boosts impact, avoiding the flat results of real fight recordings.

    Production-Ready and Versatile

    Equally at home in film, TV drama, high-end game audio, or immersive theatre. From knockout sound effects to stylised fight sequences, Violent Combat is ready to drop straight into your mix.


    Included Sounds – KEYWORDS

    AIR, BODYFALL, CLOTH, CRUNCH, FINISHER, FURNITURE, GORE, GRAB, GRAPPLE, IMPACT, KICK, LEATHER, MARTIAL ARTS, METAL, MOVEMENT, PLASTIC, PUNCH, SLAP, SWISH, SWOOSH, THROW, WHOOSH

    20 %
    OFF
    20 %
    OFF
    20 %
    OFF
    20 %
    OFF
  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

    50 %
    OFF
  • 638 meticulously processed stereo fire spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of fire spells. It also includes source sounds for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

    The library is fully focused on fire spells. You will find simple one shot magic firebolt, powerful high level fire spells, fire sword, berserker enchantments and so on. Spells such as fireball,  firewall, rain of fire, meteor, fire nova, magma storm, pyroblast, sword of Avernus, etc. are included in this library.

     

    THE ARCANE FIRE SPELLS
    38 %
    OFF
  • Immerse yourself in an atmosphere of natural power and tranquility with the “Rain and Thunderstorm” sound collection, consisting of 4 Vol-s.
    This collection features a variety of looped sounds: light rain, night rain with loud thunderclaps, and other effects that will help you create the perfect atmosphere – from a quiet, secluded night, long scenes, or endless atmospheric effects without abrupt transitions, to a dramatic thunderstorm on the horizon.
    The recording was made by a Zoom H3-VR recorder in the Ambisonics A format (96 kHz 24 Bit) and then converted to the AmbiX and Stereo formats (96 kHz 24 Bit), which are located in different folders of this sound pack.


   

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.