The Ultimate Free Sound Effects List (500+ GB) by Chris Skyes

This is a large list of pro sound recordists, and sound designers, who offer free sound effects for download on their websites. When pro audio people release audio libraries, they sometimes also release free samples.

If you’re just getting started in film, theater, or the game industry, such resources can be invaluable when padding out your sound effects collection.

Disclaimer: Whilst all the websites on the list should allow commercial use of their free sound effects, it is ultimately your responsibility to check the license on each website, and library that you download, in order to make sure that you can use them in your projects. I accept no responsibility for any misuse of the files.

PS: If you’d like me to add your free sounds to the list, change your website description, or remove it all together, feel free to get in touch.

With all that out of the way, let’s hop right in!

344 Audio

You can download their free sound effects libraries here, at the bottom of the page.

99 Sounds

Absolutely massive collection of free sound effects, contributed by sound designers all over the world. You can download their free sounds here.

Airborne Sound

Airborne Sound offers multiple high quality  sound effects libraries for free download. They can be downloaded in a few different formats, ranging from .mp3 to high quality .wav at 96kHz/24-bit.

You can download their free sounds here.


AntiSample has two free libraries available. One is called One Shots, and the other is Bike Ride Adventures, which is offered as ‘pay what you want’. I would still recommend that you pay something for it, but there is nothing stopping you from paying $0.

Articulated Sounds

Articulated Sounds offers three free library packs. The Global Sampler Pack contains samples from all of their libraries, in addition to Mini Bells, and Free Water.

Joining the newsletter will get you some free sound effects, but ASFX occasionally holds sales and offers, where you might get bonus sounds with a purchase.

You can join the newsletter by clicking here.

Bend Audio

Whilst Bend Audio do not sell their own sound effects libraries, these free sounds are taken out of their personal recording sessions.

You can download their free sounds here.


Subscribing to their newsletter will get you free sound effects every month. You can join their newsletter here.

Chris Procopiou

You can download their free sounds here.

Davide Defendi Sound

You can download their free sounds here.


You can download their free sounds here.


You can download their free sounds here.

Dynamic Interference

Dynamic Interference offers a free library from a trip to the Galapagos islands. The pack includes sounds such as that of a motor boat, frigate bird, blue footed booby, large billed flycatcher, mockingbird, and a giant tortoise!

You can download their free sounds here.

Epic Stock Media

You can download their free sounds here.

Fox Audio

Fox Audio Post-Production was founded in May 2015. The company releases royalty-free, high-quality SFX libraries (for games, TV, movies, trailers, radio...) and provides services like mixing, audio restoration, field recording, creative and interactive sound design.

They offer two free libraries titled Jaguar, and Household.

Francesco Ameglio Sound

You can download their free sounds here.

Free To Use Sounds

Marcel and Libby, the people behind Free to Use Sounds, offer a large range of sound effects on their website. You can download their free sounds here.

Frick & Traa

Frick & Traa create high quality sound libraries for sound professionals that aim to immerse their audience in unique sound effects that fill the gap in any media production, whether linear or interactive.

All libraries are thoroughly described with metadata and delivered in the highest possible sound quality.

The ‘City Bicycles - Free Sample’ Package is a preview of their excellent 'City Bicycles' library, filled with characterful bicycle recordings You can download their free sample library here.

Gain Walkers

You can download their free sounds here.


You can download their free sounds here.

Gregor Quendel

You can download their free sounds here.

If a Tree Falls

If a Tree Falls focuses on recording unique and diverse sound effects and delivering these to sound artists and creatives to inspire creativity and sonic exploration.

You can download their free sound effects in their blog section.


MatiasMac.SD offers two free libraries called ‘Beeps’, and ‘Impacts’. You can download the free sounds here.

Mindful Audio

George Vlad has offered holiday freebies over the past few years. You can download the ones from 2016, 2017, and 2018.

Music for Video

Music for Video offer a collection of over 2000 cinematic sound effects, which you can download here.


Nimlos' Sound offers Henhouse, and Old Soviet Radio SFX.

Noise Creations

Noise Creations offers two free libraries, which you can find at the bottom of this page.


You can download their free sounds here.

You can download their free sounds here.


Phonophilist offers a battle horns library for free. You can download it here.

Pro Sound Effects

They offer the PSE Micro library for free. You get 290 sound effects worth $49.

Red Libraries

Red Libraries offers five freebie packs. You can access them here: Pack 1, Pack 2, Pack 3, Pack 4, and Pack 5.

Rocksure Soundz

You can download their free sounds here.

Shaping Waves

You can download their free sounds here.

SilverPlatter Audio

Silver Platter Audio offer a free sampler library on their website. You can download it here.


SKYES Audio (that’s me) offers samples from some of their libraries. You can check them out here.

Studio 734

Studio 734 offer a micro SFX library, which you can download in the description of this video.

You can download their free sounds here.


For the past few years, Sonniss has offered free samples at GDC. You can view and download the following years: 2016. 2017, 2018, and 2019.


SoundBits offers a few free sound libraries, which can be viewed and downloaded here.

Sound Chick SFX regularly adds new free sounds to her website. You can have a look here.

Sound Ex Machina

They offer Lite versions of almost all of our libraries. In order to receive them, you just need to subscribe to their newsletter here.

They offer free audio funded by the City of Essen. You can download their free sounds here.

Sound of Italy

You can download their free sounds here.


They offer three SFX packs. You can listen to, and download them here: Pack 1, Pack 2, and Pack 3.

Takoma Media

You can download their free sounds here.

The Coil

You can download their free sounds here.

The Sound Pack Tree

You can download their free sounds here.

Thomas Rex Beverly

You can download their free sounds here.

Tovu Sound

You can download their free sounds here.

Zapsplat is a resource dedicated to promoting and supporting indie sound effect creators, sound designers and libraries by offering small selections of their work, in exchange for quality exposure and promotion.

Zkry Music

You can download their free sounds here.

The Mic All YouTubers Need? Rode VideoMic Pro Review by Chris Skyes

In this article, we are going to talk about the Rode VideoMic Pro, what it’s good for, what it isn’t good for, and who should buy it.

If you’re considering vlogging, or online video creation, your choice of microphone is key. Over the next few minutes, we’re going to explore why you might want to make the Rode VideoMic Pro your main content creation mic.

Directional Microphone

The Rode VideoMic Pro is rather directional, and it records in mono. What that means in practical terms is that it tends to focus on sound sources in front of the microphone, whilst actively trying to block out sound coming from the sides and back.

This makes it great for vlogging, recording interviews, and recording voice in general. Due to it being mono, you can’t record concerts or music with it though.

I mean, you can, but the resulting audio would be in mono, rather than stereo.

If you want a microphone which you can pop on top of your camera, and can record in stereo, I would recommend having a look at the Rode VideoMic Stereo, or read some of my other articles, where I cover devices intended for recording stereo sources, such as the Zoom H6, or Sony PCM-D100.

Battery Life

Unlike its smaller brother, the Rode VideoMicro, the VideoMic Pro requires a 9V alkaline battery. According to Rode, this can provide you with 70 hours of battery life, though please bear in mind that your mileage may vary.

There is actually a sticker on the inside of the battery compartment that shows you which way to put the battery in.

So you know, batteries are not included with the device, so you’ll want to buy at least two, as they do have a tendency to run out at the worst possible time.

Quick tip: For links to all the products I’ll be talking about, have a look at the end of the article
— Chris SKYES

Integrated Windscreen and Shockmount

This microphone has an integrated foam windscreen, and a Rycote Lyre shockmount. This means that wind and handling noise will be less of an issue, but these implementations will not completely solve the problem.

You still need to handle the microphone and camera with care, to avoid handling noise, and strong winds will easily defeat the windscreen. In fact, I would strongly suggest investing in a proper, more furry windshield, such as the Rycote Mini Windjammer.


The Rode VideoMic Pro is compact, as it only weighs 85 grams, and it is just 150 mm long. That being said, it feels kind of fragile as a result, so I’ve personally invested in a hard case for it. I’d say this is a wise investment, due to the cable.

I’ll get into this during the cons section of the article.

Sound Quality

This mic has a frequency response of 40 Hz-20 kHz. It also features a switchable high-pass filter at 80 Hz to cut 'mud' and rumble, whilst leaving speech unaffected.

That being said, do bear in mind that the high-pass filter will not be able to perform magic. Yes, it can reduce some of the handling noise that may be present, but the shock mount on the microphone should eliminate most, if not all of it.

Additionally, the high-pass filter will not remove wind noise completely. Sure, it will remove some of the lower frequencies, which will help with the sound when your microphone is being blasted by wind, but the best thing you can do is protect the microphone in the first place by buying a proper windshield for it, like the Rycote Mini Windjammer I suggested earlier.

When a high-pass filter should be engaged is a rather debated topic in the sound community, as there are trade-offs, but ideally you only want to turn it on when needed,

Here is a sample of what the Rode VideoMic Pro sounds like, plugged in directly into a Canon 77D.

I'm about to show you six samples. They are made up of the three modes on the back of the microphone, -10dB, 0dB, and +20dB, in both Auto and Manual level mode in the camera.

All samples were recorded at arms length, to show you what would happen if you used them in a vlogging/interview scenario. What you are about to hear is not necessarily how each mode is intended to be used, but what would happen if you use it in both Auto, or Manual, in a vlog/interview type situation.

The audio is not ideal by any means on a couple of the samples, but it will show you both how to, and how not to use those functions.

As a quick word of warning, in order to not affect the results of the test, I have not altered the volume at which the recordings will play. The first few samples will be much louder than the later ones, as they were recorded in Auto mode, so please lower your volume before listening to them.

Edit: It seems that basically all websites convert audio to .mp3 for playback, so that’s what you’ll be able to hear in the files down below. If you’d like, you can download the .wav files from my Google Drive here.

Now that I’ve covered all the pros, let’s talk about some of the aspects of this mic that I’m not a huge fan of.


The cable that comes with the microphone is about 6 inches long, which is perfectly fine for most DSLR cameras. It’s not too long, but not too short.

The issue that I have with it is that, as opposed to the Rode VideoMicro, the cable is attached to the microphone.

With the Micro version of this device, the cable is standalone. You can plug it into the mic, and then the DSLR, and you’re read to go. With the Pro version, if the cable breaks, you can’t just buy a new one and replace the broken one.

That being said, Rode does offer warranty on their products.

Manual Turn On

Even though Rode fixed this issue with the introduction of the VideoMic Pro+, it’s important to bear in mind that the Pro version needs to be turned on and off manually.

You might think it is unlikely that you’ll forget to turn on the microphone, or turn it off before you put it back in your bag, but it’s more common than you think. As a sound engineer, I’ve been paid quite a bit of money by filmmakers who forgot to turn the mic on during an interview, so they were forced to have the built-in mic audio cleaned up and improved as much as possible.

When you’re making videos for yourself, this wouldn’t necessarily be the end of the world, but if you’re shooting video for clients, and you think there’s any chance that you’ll forget to turn the mic on, you might be better off spending more on the Rode VideoMic Pro Plus.


So, should you buy it?

If you want to vlog, record interviews with one person at a time, or overall improve the audio quality on your YouTube videos, I would definitely recommend the Rode VideoMic Pro, or the VideoMic Pro+.

If you want to be able to record audio for multiple people at a time, I’d recommend investing instead into a Zoom H5, Zoom H6, or something like a Tascam DR-60D mkII.

These have been my thoughts on the Rode VideoMic Pro. If you have any questions, feel free to leave a comment down below, and I’ll do my best to get back to you.

Disclaimer: This article, like many other articles on this blog, contains Amazon affiliate links. That means that I get a small commission from Amazon on qualifying purchases, but it doesn’t cost you anything extra.

Product Links

Down below you will find all of the items I talked about in this article.

Should You Buy the Sony PCM-D100? by Chris Skyes

In this article I am going to talk about my opinions on the Sony PCM-D100, what I like about it, what I don’t, what it’s good for, and what it can do for you.

First, let’s get into what I like about it.


One of the most common things you’ll hear about this recorder is how great it is for recording quiet sound sources, due to it’s quality pre-amps and exceptional built-in microphones.

This comes in handy when recording outdoor ambiences, or when you make a mistake setting the levels, and you need to boost the signal a bit.

Now, if you do bring up the levels, you will eventually have hiss, as that happens with all recorders, but you’ll be able to pull more out of the PCM-D100 than many other recorders.

Internal Storage

In addition to having an SD card slot, you also have internal storage. This is great as once the internal storage is full, if you have an SD card inside the device, it will seamlessly continue to record onto the SD card.

If you underestimate how long you need to record for, and you’re about to run out of space, this function might just save you.



Coming in at just around 390 grams, it’s actually just a bit lighter than the Zoom H6 with the XY capsule on (410g), heavier than the Zoom H5 with the XY capsule on (270g). and heavier than the Zoom H4n (280g).

Quick tip: For links to all the products I’ll be talking about, have a look at the end of the article
— Chris SKYES

High Definition Audio

Due to the quality of the pre-amps, and the built-in microphones, this recorder is well suited for a range of applications.

For example, you could record meetings, lectures, interviews, live events, acoustic instruments, and even concerts. I’ve actually recorded an ambience library with it. Feel free to listen to the sample down below.

A small note here, the Sony PCM-D100 does not have XLR inputs, which does not make it suitable for Podcasting, or interviews, unless you plan on recording the interviews using the built-in mics.

You can use some microphones with it, but the selection is not as wide as with a recorder that does have XLR inputs.

The PCM-D100 can record at various sample rates, between 44.1kHz, and 192kHz. I’ll briefly go ahead and tell you which one you should record at, depending on what you need it for.

44.1kHz - If you’re recording audio of a lecture, or a meeting, which will just be used for listening purposes, this would do just fine. Additionally, if you will record music which won’t be synced to picture, you can record at 44.1kHz as well.

48kHz - If you are recording audio for a video, including dialogue, you want to pick 48kHz. That is the standard for audio used in this context.

96kHz - If you are recording ambiences for use in film, you might want to switch to 96kHz. They’ll be converted back to 48kHz when used in a film project, but recording them at a higher sample rate will allow your files to have a bit of a longer shelf life.

192kHz - This is basically reserved for sound designers. If you need to record audio which will be highly processed, and stretched, you need to make sure you’re recording at this sample rate.

It’s a bit like shooting video at 60fps or 120fps. It takes up more space, but it allows you to slow it down more in post.



One of the reasons I love my Sony PCM-D100, is that It allows me to get quality stereo recordings without having to set up, or carry multiple microphones, and mic stands. It’s easy to carry around, set-up. and tear down. It allows you to be stealthy, relatively speaking, and quick.


The battery life is great, some sources saying that you can record up to 12 hours of audio. Please do bare in mind that your experience may vary, depending on what sample rate you are recording at, and even the make of the batteries you are using.

The battery compartment is actually locked in place with a sliding lock. This ensures that it’s basically impossible for you to accidentally open the back, and kill the power in the middle of a recording.


The built-in condenser microphones at the top of the recorder are adjustable from 90º to 120º. If you are fairly close to your sound source, you can adjust them to 90º (facing inwards), but if you are recording a natural ambience, or a live music event, set them to 120º (facing outwards) in order to achieve a wider, and more realistic sounding recording.


The Sony PCM-D100 is very durable, as evidenced by George Vlad’s Instagram post. Naturally, you want to do everything you can in order to take care of your recorders, but it’s good to know that it’s designed to last.

Geroge PCM-D100.png

Changing Levels

On the right hand side of the device, you will find a small wheel which allows you to change your gain level. The fact that it has white writing on top of the black wheel is fantastic, as it allows you to see the numbers more clearly in dimly lit situations.

In addition to that, accidentally changing levels is difficult, due to the latch that Sony has included. You can lift it, set your level, and then close it down, in order to ensure that you do not accidentally change them.



The box actually includes a windshield which is really good. This definitely sets the PCM-D100 apart from other portable recorders, who only include a foam windshield. That being said, it’s still investing in Rycote’s kit for it, which provides you a windshield, a grip, and a shockmount (links at the bottom of the article).

If you would like to hear what the default windshield sounds like, compared to the Rycote one, Paul Virostek of Airborne Audio has created a fantastic video on the subject.


Now that I’ve addressed some of the good things about the Sony PCM D100, I’d like to go into the one thing that I wasn’t a fan of.


There are no XLR inputs on the device, which is a shame. I would have personally loved to be able to plug in a couple of microphones in the PCM-D100, when needed. That being said, I understand that compromises have to be made with any piece of equipment, and no device is perfect.


Should you buy it? As always, it depends.

If you want to record a Podcast, and plug in multiple microphones, or if you want to be able to use your recording device as an audio interface, you might be better off with the Zoom H5 or Zoom H6 (you can read a comparison of the two recorders here).

If you want to record interviews, or location dialogue, same answer.

Instead, if you want to record pristine audio, using the built-in mics, with little to no hassle, the Sony PCM-D100 is for you. Whether you want to record quiet natural ambiances, live music events, meetings, lectures, or more, the PCM-D100 will allow you to get great audio quality, without the hassle of having to set anything up.

Product Links

Down below you will find all of the items I talked about in this article.

Should You Buy The Zoom H5, or the H6? by Chris Skyes

Chances are you’ve owned your trusty Zoom H4n for a few years now, and you’re looking to upgrade. Upon doing a bit of research, you find out that Zoom has two shiny recorders, the Zoom H5, and the Zoom H6.

The question is, which one is best for you?

In this article, we are going to explore the differences between the two recorders, and what purpose the different features might lend themselves to. Also, if you’d like to read a more comprehensive review of the Zoom H6 by itself, I’ve written an article about it here, or watch the video below.

Quick tip: For links to all the products I’ll be talking about, have a look at the end of the article
— Chris SKYES

Before we begin, I am going to point out that the Zoom H5 and Zoom H6 are two very similar recorders, but they are built for different purposes. As we go through the article, I am going to lay down the actual differences, and explain what situation each option would be better suited for.



The Zoom H5 only has two XLR inputs, as opposed to the four built-in XLR inputs on the Zoom H6.

If you plan on doing journalism, or recording one on one interviews, which would only require a maximum of two external microphones, the two XLR inputs on the Zoom H5 will suffice.

On the other hand, the four built-in XLR inputs on the Zoom H6 gives you the ability to plug in four microphones, thus making it perfect for podcasts, recording demos, band recording, etc.

Battery Life

Even though both recorders have exceptional battery life, the Zoom H5’s is shorter than that of the Zoom H6, according to Zoom.

This was presumably measured without any external microphones connected to the devices. Bare in mind that connecting two microphones to the H5, or four to the H6, will lower the battery life, especially if you are using phantom power.

There are many different variables which would potentially affect the battery life of the device, but the takeaway is that they both can record for hours at a time, and It's always worth carrying some extra batteries with you, just in case.


Size & Build

The Zoom H5 is a bit smaller and lighter than the Zoom H6. This is important to consider if you plan on adding it on top of a DSLR, which might already have a battery pack strapped to it.

The actual dimensions for the Zoom H5 are 7.77 x 2.63 x 1.66 inches, and it weighs 9.52 oz (269 grams). The Zoom H6 comes in at 14.46 oz (410 grams), and measures 8.39 x 3.1 x 1.88 inches.

Even though both are sturdy and rugged, it’s worth to point out that the Zoom H6 is rather larger and heavier, and this should be taken into consideration.


When it comes to the displays, the H5 has a backlit LCD, whilst the H6 has a much nicer 2" full-colour LCD.

Also, whilst the Zoom H6 screen is angled slightly down (see image below), the H5 is not. This is neither a good thing, nor is it a bad thing, as it just depends on what you're using the device for.

If you'll be looking down at the recorder, the Zoom H5 screen is better for that. If, on the other hand, the recorder will be closer to eye level, like if it it's mounted on a DSLR camera, the H6 screen will allow you to monitor levels without having to move your camera too much in order to look at the screen.


Phantom Power

Whilst both recorders offer phantom power, which is needed by some microphones, the Zoom H6 offers phantom power for all its 4 x XLR inputs. The two extra XLR inputs which can be mounted on top with a modular component can not receive phantom power on either the H5 or the H6.

Sound Quality

In regards to sound quality, they're about the same. No major differences between the two, though they both sound much better than the older Zoom H4n, especially in regards to self noise.

When it comes to pre-amps, neither of them are as good as the Sony PCM-D100, though the Sony device does not have XLR inputs, and in either case, the Zoom H5 and Zoom H6 have better pre-amps than the Zoom H4n.

Simply put, when recording quieter sounds, there is less hiss produced as a byproduct when you pump up the gain, compared to the older H4n.

Wind Protection

If you have to record outdoors, which might be the case if you're a journalist, field recordist, sound effects recordist, if you're recording a live band, or more, the foam windshield that comes with either recorder will prove itself to be rather unhelpful.

It's great when recording indoors, but any real gust of wind will make the recording unusable. Luckily, Rycote sells a three-in-one solution for each recorder.

A grip, by which you can hold the recorder, a shock mount which basically eliminates handling noise, and a good quality windshield, which will protect the microphone from wind, though very strong winds might still affect the microphone.

You can purchase the Zoom H5 version of the Rycote product on Amazon, or the Zoom H6 version of the product on this Amazon page.


The Zoom H5 has a metal bar which makes it difficult to accidentally change the input levels. Whilst the H6 does have some measures in place in order to prevent that, the H5 method feels a lot more reliable, as it is a large metal bar, physically preventing you from doing it.

If you know you're likely to accidentally hit, or run your hand over the recorder and change the levels, this might be something to take into consideration.


Which one should you get? Ultimately, both recorders are very similar, but built for different purposes. They're both quite rugged and well built, have good sound quality, modular microphones, and multiple XLR inputs.

If all you need is to connect a maximum of two microphones to it, like in a one on one interview setting, the Zoom H5 will suffice.

That being said, if you think you might one day need to plug in a few extra microphones, it's worth spending a little bit of extra money and getting the Zoom H6.

The price difference isn't massive, around £60 usually, or $80, and by getting the Zoom H6, you're future-proofing yourself.

Thank you very much for reading my review of the Zoom H5 vs Zoom H6. If you’d like to be notified whenever I post a new article, feel free to subscribe to my newsletter down below.

Product Links

Down below you will find all of the items I talked about in this article.

The Basic Gear You Need to Record Sound Effects (Part 1) by Chris Skyes


In this article, we are going to talk about the basic equipment you need in order to start recording your own sound effects. The gear which I will recommend will be a balance between cost and quality, thus helping you get a good start in the world of sound effects.

This will be a two part series. In the first article, we will discuss microphones, recorders, and vital accessories. In the second article, we will go more in-depth on accessories, and discuss SD cards, external hard drives, useful things to have in your recording bag, and more!

In the interest of transparency, all of the gear links which will be present in this article are Amazon affiliate links, which means that if you purchase anything, it won’t cost you anything extra, but I’ll get a small commission.

Right, let’s begin! We’ll go through a few common set-ups that you might use when recording sound effects.

Quick tip: For links to all products mentioned in this article, have a look at the bottom of the page
— Chris SKYES

Hand-held recorder

Everyone starts off with one of these, mainly because they are uncomplicated, and quite affordable. You turn them on, press record, and point them at the sound source.

Sony PCM-D100

If you want a hand-held device which produces really clean recordings, it’s worth having a look at the Sony PCM-D100. The downside of it though is that it doesn’t have XLR inputs, which means that if you decide to invest in some shotgun microphones down the line, you won’t be able to plug them into it.

Here is a demo from British Suburbia, a library I recorded, and am still recording, using this device.

Zoom H6

If the sounds you’ll be recording are on the louder side, and you need a recorded which is not only built like a tank, but is also really upgradeable, have a look at the Zoom H6. It’s durable, has great battery life, loads of XLR inputs, and even a detachable microphone at the top.

If you’d like to learn more about the Zoom H6, I’ve written a more in-depth review of it here, or you can watch the YouTube video down below.

Here is a demo for Dormant Village, a library I recorded using this device.

Zoom H4n

This is the device many people start out with, including myself. It’s great for personal and student projects, though it’s not often used in a professional setting. The main reason is that the Zoom H4n isn’t well suited to record quiet sounds, is because of its level of self noise.

In other words, if you record something really quiet, and then boost the levels later, the background hiss will be noticeable.

All recording devices have some degree of hiss when you boost the signal really loud, but some have more than others.

That being said, if you want a device which is great to learn on, and is affordable, the Zoom H4n might just be right for you.

You can always sell it later down the line when you want to upgrade. If taken care of, it shouldn’t lose too much of its value.

Wind Protection

When it comes to hand-held recorders, they do tend to come with some form of wind protection, often in the form of a foam cover for the microphones. Whilst this does help to some degree indoors, if you want to do any sort of work outdoors, you will need to purchase wind protection.

Whilst the Sony PCM-D100 does provide you with a really good windshield out of the box, there are alternatives out there, and each affect your audio in different ways. Here is a YouTube video by Paul Virostek, demonstrating the difference between the Sony PCM-D100 windjammer, and the equivalent which Rycote makes.

It is important to specify that you shouldn’t try to save money on your windshields, as a cheaply made one will adversely affect the sound of your recordings. In other words, a cheap windshield will muffle the recording, which might make it unusable.

Companies like Rycote make excellent products, including the Sony PCM-D100 windjammer, Zoom H6 windjammer, and the Zoom H4n windjammer.


When handling the devices, you introduce noise into the recordings. Even if you try to stay completely still, some amount of noise will be introduced, making it a nightmare to edit out later on, or even rendering the recording useless.

To that effect, Rycote has a series of products aimed at this, and they include the windjammers mentioned above bundled with them. They make a shockmount for the Sony PCM-D100, one for the Zoom H6, and also one for the Zoom H4n.

Microphone and Recorder

Once you have decided which recorder you would like, it’s time to consider some microphones. Honestly, if you want quality for a relatively low price, Rode is probably the way to go.

Rode NTG-2

Rode makes the NTG series of shotgun microphones. I personally have and use the Rode NTG-2 all the time, and I love it. I’ve traveled with it, used it for years, and it still works. It’s hard as nails, sounds great, and it also looks really cool.

What more could you want?

Additionally, here is a demo for Shimmering Shards, a library recorded using the Rode NTG-2, and the Tascam DR-60DmkII.

Wind Protection and Shock Mounts

When handing such a microphone, you will inevitably need some kind of shock mount, in order to stop vibrations and handling noise from polluting your recordings. You will also need some sort of wind protection, as you will inevitably end up recording outside.

In addition to many types of microphones, Rode also produces a blimp, which is basically a handle, mounting system, and windshield in one. It’s called the Rode Blimp.

The blimp itself is relatively standard, which means you can fit a lot of different microphones from many companies inside of it. It is worth researching each microphone before you purchase it though, as some shotgun microphones are extra long, and require a different type of blimp.

Alternatively, if you are looking for a less expensive alternative, the PROAIM Blimp works really well. I’ve personally used it on many trips, and it has served me well.


In order to monitor what it is that you are recording, you’re going to need a good pair of headphones. Now, everyone has a specific pair which they love and use all the time, but I personally use the Beyerdynamics DT 150.

They’re good quality headphones, very affordable, and they’re built like tanks. I’ve had the same pair for years, and it’s never given me any trouble. I’ve abused them, stuffed them in bags, and all the rest, but whenever I plug them in, they still work.

This is the end of part one. Feel free to subscribe to my newsletter down below, in order to be notified when part two comes out!

Product Links

Down below you will find all of the items I talked about in this article.

How To Record Sound Effects For Your Short Film by Chris Skyes

Whether you’re studying filmmaking, or you’re getting started on your own, there is an undeniable fact which you have to contend with: nowadays, more people are making more films than ever.

In fact, a lot of people might have access to better cameras, better lights, and better equipment in general.

Given all of that, what can you do to set yourself apart from your classmates, or your peers?

Sound. That’s it. Why?

Because it’s intimidating. You see, creating good visuals is a lot more intuitive than creating good audio.

Now, you can, of course, always hire a sound designer to work on the audio for your film, and that’s how I make a part of my income.

That being said, you might not have a budget for a sound designer, and you might have been considering having a go at recording your own sound effects.

This article is going to run you through how and when you can use sound effects more effectively, practical tips on how to record them, and gear recommendations, together with explanations as to which piece of gear is suitable for what.

Quick tip: For links to all products mentioned in this article, have a look at the bottom of the page
— Chris SKYES

1. Why Add Sound Effects?

Isn’t location sound enough?

Well, unfortunately no. Even if you have a super experienced audio recordist on set, using very expensive microphones, a lot of the production sound effects which happen to be picked up won’t be nearly enough. Additionally, as the sound recordist is focusing on the actors, sounds which happen in the distance will sound bad, and unprofessional.

Here is an example of what I mean. This is a short film/min-doc I made a few weeks ago. I went through pre-production, had a shot list, covered all the scenes, and then I put together the film.

In order to make my life easier, I could have placed a mic on my camera, recorded audio on set, and asked the actress to record her voice over on location as well. This would have saved a lot of time, but the final product wouldn’t have been as good, as the VO would have been noisy, and the sound would have been inconsistent from scene to scene.

Feel free to have a look at the film, and then I’ll tell you what I did for the sound.

Once the film was edited, I exported it from Davinci Resolve, and imported it into Pro Tools.

Then, using markers, I made sure to underline what each section of the film needed. Just to be clear, audio is worth thinking about well before you enter the production stage.

As I was writing the shot list, I knew exactly what I wanted to do with the audio, and I could picture all the sounds that I’d need. When you then place markers in your DAW of choice, you already know what your film requires.

First of all, it needed a natural ambience, due to our location. I layered multiple natural ambiences on top of each other, and adjusted the volume of each, in order to get a mixture which felt right.

Then, using a Rode NTG-2, I recorded the cloth track. I simply pressed record, and using a shirt which I was holding, I followed the flow of her movement.

For the footsteps, I grabbed a very thin plastic bag. If you think about it, thin plastic bags sound exactly like foliage. I made it into a loose ball, placed it into my left hand, and using my right hand, I hit the plastic and imitated her footsteps.

When watching the film, you might notice that these things are relatively low in the mix. That’s fine. They’re not supposed to be the focus of the film, but, much like lighting, they’re supposed to be felt, not noticed.

the way you can think about sound design in general, is that if it’s done right, you won’t notice it, but if it’s not there, or done poorly, it will feel like something is missing.

Now that we’ve covered the why, let’s cover the how! Let’s go into some gear recommendations, for low to medium budgets, which will allow you to record quality sounds (in combination with the tips I’ll give you in section 3).

2. What Gear Should I Buy?

There are a few different set-ups which you could invest in, each with their pros and cons. I’ll describe what the benefits of each set-up is, so that you may decide which one is best for you. All the recommendations will be on the lower end of the price spectrum, in order to keep things affordable.


The selection available to you might at first be overwhelming. There’s all the different brands, like Shure, AKG, Behringer, Rode, Neumann, etc., and then all the different types, such as shotgun microphones, condensers, dynamics, large diaphragm, small diaphragm, lav, etc.

As you’re starting out, let’s keep it simple. Given the fact that you most likely don’t have a proper room set-up to record in, and the fact that you’ll often be recording in noisy places, a shotgun mic is, in my opinion, a first great mic. A good one would be the Rode NTG-2, and you’ll be able to find links to all the products mentioned in this article down below.

This microphone will serve you well. It has very low self noise, and it’s hard as nails (almost). Rode are well known for making durable microphones, which makes them great as a first choice.

In order to better understand what a shotgun microphone is, one could easily compare it to a long lens. It helps focus on specific sounds, whilst ignoring a lot of what’s happening around it.

Audio Interface and Microphone

If you want something closer to a studio set-up, getting an audio interface, together with your mic, will allow you to do this. Some examples of affordable audio interfaces would be Focusrite Scarlett Solo, and the Behringer U-PHORIA, but you can also use a hand-held device such as the Zoom H6, when not using it in the field.

These allow you to connect directly to your DAW of choice, and a lot of them can even provide phantom power, which is needed in order to run some microphones.

Alternatively, you can purchase a studio bundle like the Focusrite Scarlett 2i2 Studio, or the Rode AI-1, but they have large diaphragm condenser microphones instead, which can provide a bit more detail, but which capture a lot more unwanted noise, if present. You can think of them more like a wide lens.

Handheld Recorder and Microphone

I personally love using my Tascam DR-60d MKII, combined with my Rode NTG-2. As it is a compact set-up, you can just whack it into your bag, and take it anywhere, as long as it’s indoors, and you use a handheld shock mount to remove unwanted mic handling noise.

If you want to use it outside, you’ll need to invest in a good wind protection method, such as the Rode Blimp, as the foam windshield that comes with the Rode NTG-2, or any other microphone for that matter, isn’t nearly good enough.

This set-up is great if you want to be able to run around, and record sound effects cleanly on the go, but it wouldn’t allow you to record stereo ambiences.

Handheld Recorder with Internal Mics and Microphone

If recording both stereo ambiences, and sound effects on the go is what you’re looking for, I would recommend investing in a Zoom H6, together with the Rode NTG-2, or a similar microphone in the line-up.

The Zoom H6 not only has built-in microphones, which allows you to record stereo ambiences, but it can take up to 4 XLR-inputs, thus allowing you to plug-in your mic and record mono sound effects when needed.

The only issue with the Zoom H6 is that it doesn’t do very well when recording very quiet sounds, as quite a bit of pre-amp noise gets introduced. You can think of it as a camera with poor low-light performance, due to a small sensor.

I’ve actually reviewed the Zoom H6. You can read all about it here, or you can watch the YouTube video below.

Handheld Recorder with Internal Mics

Naturally, if you’d like to forgo the external mic, you could just go with the Zoom H6 or a Sony PCM-D100 by itself.

If you go with the Sony PCM-D100, you have better stereo sound, but you don’t have XLR inputs, limiting the kinds of microphones you can plug into it.

If you choose the Zoom H6, the mics at the top are actually detachable, which allows you to purchase a Shotgun Mic module for it. You just plug it in at the top, and you have an all-in-one recorder and shotgun microphone.

That being said, the Zoom H6 isn’t stellar when it comes to recording very quiet sounds, so just bare that in mind.

Additionally, regardless of which one you invest in, you’ll have to get some wind protection for them, such as the one for the Zoom H6, or the one for the Sony PCM-D100.

3. How Do You Get the Best Out of Your Equipment

I’m going to break this down into two smaller categories, for the sake of simplicity.

When recording sounds, you’ll find yourself in one of two possible environments: outdoors, or indoors.

Each location has its advantages and disadvantages, and we’ll explore each right now, along with what to do in order to fully take advantage of the pros, and mitigate the cons.


If you choose to record indoors, the first obvious issue is reverb. When you make a sound, it will bounce off the often empty walls, and this will colour your recording. Even if the sounds are recorded for a scene which takes place in a similar room, it’s best practice to record the sounds in a neutral way, and then process them to match the environment.

As a result, you want to record your sounds in a place where reflections would be dampened, such as in a closet. Even opening up the closet, and recording in-between hanging shirts and jackets should work, as long as you leave the sound a bit of room to breathe.

Recording them in a confined space might give it a ‘boxy’ sound, which wouldn’t be great.

So, divide up your coat-hangers into two, push one half to the left, and one half to the right, thus allowing you some space in-between to record.

Whilst this will take a bit more time and effort, the effects will be noticeable, and the final result will be well worth it!

One major perk of recording indoors, whenever possible, is that you won’t have to deal with wind slamming into your microphone, and distorting the signal.


Sometimes, when recording sound effects, you have no choice but to take your set-up outside. This comes with its own challenges.

The main two are wind, and background noise, such as traffic, birds, etc. The biggest tip I can give you on this, and this is something I learned the hard way, is to never underestimate wind.

Whilst working on one of my audio libraries, I went out for a day to record ambiences, whilst visiting friends in another part of the country. I got to my location, unpacked everything, set everything up, and immediately realised that the wind was incredibly strong that day.

I could have brought more protection, but ended up only bringing some, as I figured it should be enough. Finally, after going through what I recorded over eight hours, only about an hour was useable.

Learn from my mistake, invest in good windshields, and bring more than you need.

If you want to know what kind of wind protection you can use, refer to section 2, where I link to a few different kinds. One major tip I can give you is to not cheap out on wind protection though.

At the end of the day, pricier windshields will protect your microphones from the wind, but they are also transparent, which means that they don’t muffle the audio. Using a really cheap windshield can change the sound dramatically, which is not something that you want.

This is all for today, I hope you enjoyed the article, and I invite you to subscribe to my newsletter, in order to be notified whenever I put out any new posts.

Product Links

Down below you will find all of the items I talked about in this article.

So, What is The Sony PCM-D100/1? by Chris Skyes

Sony PCM-D100-1 Above View On.jpg

A little while ago, one of my Facebook posts got quite a bit of attention. The whole situation revolved around Sony agreeing to send me a replacement for my Sony PCM-D100, which was broken, but due to no fault of mine.

As more and more people interacted with the post, a common thread started to arise. What is the Sony PCM-D100/1?

You see, when Sony told me that they'd send me a replacement, they mentioned that due to the fact that the PCM-D100 was discontinued, they'd send me a PCM-D100/1.

Understandably, this caused quite a bit of confusion.

Quick tip: For links to all products mentioned in this article, have a look at the bottom of the page
— Chris SKYES

According to the customer service representative that I spoke to, there's no real difference. Given the fact that it's called PCM-D100/1, and not the PCM-D200, one would be lead to assume that it's different internal parts used due to different reason, but ultimately, it would be the same product.

As you can see from the photos, at least on the outside, the device looks identical to the Sony PCM-D100.

After a few e-mails back and forth, one of their customer service representatives eventually said that they changed factories, hence the D100/1 was created.

In the preview for my newest library, British Suburbia, the rain tracks were recorded with the D100/1 model, whilst everything else was recorded with the D100. Whilst there is no noticeable tone change between them, the contents of the recordings is obviously too different to make a definitive decision.

That being said, the updates to the library that are scheduled to follow will all be made with the D100/1, so I shall update this article and add a new preview once the next version of the library comes out. If you want to make sure you will be notified, make sure to subscribe to my newsletter down below.

So, what do you think? Do you reckon there are differences in the internal components? Will you hold out on making a decision until I publish more recordings? Let us know in the comments down below.

Product Links

Down below you will find all of the items I talked about in this article.

How I Recorded My First Ever Ambience Library by Chris Skyes


The Black Sea. The first audio library I have ever recorded, and it is still my favourite. Allow me to tell you a story.

*insert Harp_06.wav*

It was September 2015. I hopped off the rusty, old, Eastern European train, and landed on harsh gravel, after a three foot fall. With such a distance between the ground and the door, I'm not quite sure who designed these trains, but I'm fairly certain stick insects and Basil Fawlty were foremost on their mind.

If you're British, you might have gotten a chuckle out of this. If not, don't worry about it, I promise you that it was a funny little gag.

Looking out, I see an old brutalist-style building, which served as the ticket office for the station, and as occasional shelter from the rain for short old women carrying leek-filled cloth bags, all staring at the strange 6ft3 man wearing a neon yellow Adventure Time shirt and carrying what looked like the fur of a dead gray cat.

Upon arrival at my hotel, I check in, and I am given the keys to my room. I head down a cold corridor, insert the key into the lock, and freak out when I realize that that's not my room, but the next one down.

I jump a few feet, open the door to my room, and carefully close it before anyone would know what just happened. I would later find out that I was the only person in the small hotel, except for the old lady behind the desk. As it turns out, the Romanian seaside is not very popular in late September, when temperatures can reach close to freezing.

Who could have known.

Anyway, as I entered my room, I was immediately greeted by what looked like a concrete floor, concrete walls, and the lowest beds I have ever seen. That's not particularly relevant, but just kind of weird.

Upon getting my bearings, I grab my gear bag, containing, among other things, my Rode NT4, and my Tascam DR-60d mkII, and head out to the beach. As I arrive on the freezing cold beach, a realisation struck me.


I was the only living thing within quite a distance. No other humans, no annoying ice cream stealing birds, no nothing. At the time, I didn't quite know how wrong I was, but we'll get to that later.

Carefully placing my bag on the sand, I zip it open and grab my equipment. I firmly place my feet in the sand, and I press record. As the signal traveled from my recorder, up to my headphones, I was shocked to only hear waves, and nothing else.

No annoying music blaring in the distance, no kids running around, no seagulls, nothing. Just the waves.

As the days progressed, I got more and more courageous. I was climbing up on wet slippery rocks, recording from different angles, even stepping into the sea, to get unusual sonic perspectives.


In fact, whilst navigating my way across a field of slippery jagged rocks, trying my best to avoid the water, I nearly broke my neck as a flurry of rats scurried over the rocks and went past.

It turns out I wasn't alone after all. Luckily, I'm a big boy, so the rats weren't looking for a fight.

Upon returning to my base of operations in London, I sat down and began listening through the audio.

The original version that I had put out did not sell a great deal of copies. I was still learning, and I definitely should have spent more time editing it. Upon discussing things with Timothy McHugh, and sending my library to Paul Virostek for feedback, they very graciously gave me loads of pointers and great advice!

I imported the whole bloody library into Pro Tools, and started brutally cutting out anything that was sub par. Any kind of wind and handling noise was removed, and even though the library was now half the size, I felt like I had a quality product that I could be proud of!

Thank you to everyone who has purchased it, and helped motivate me to record more and more libraries! If you'd like to have a look at the library page, click the image down below. If you'd like to download some samples before deciding whether you want to purchase it or not, click here.

The Black Sea   30 audio files Over 30 minutes of audio 1.04 GB Unpacked Size 24bit/96kHz Sample Rate

The Black Sea

30 audio files
Over 30 minutes of audio
1.04 GB Unpacked Size
24bit/96kHz Sample Rate


Psst. I’ve recently written an article on what kind of gear you might need if you want to get into sound effects recording. You can read it here.

Read This Before You Buy the Zoom H6 by Chris Skyes

Thinking about purchasing the Zoom H6, but you want to know if it suits your needs before you do so? Here are my thoughts on it after using it for a while.

By the way, if you’d like to see a comparison between the Zoom H6 and the Zoom H5, I’ve written an article on it here.

Late last year I purchased the Zoom H6. Even though I specifically bought it to record sound effects, after I began using it, I started to slowly realise what a versatile piece of hardware it really is, and how you can use it for anything from podcasting and voice over work, to dialogue and live music recording.

Grab some tea and biscuits, and play some smooth jazz, because we're about to dive deep into the pros and cons of the Zoom H6.

Quick tip: For links to all products mentioned in this article, have a look at the bottom of the page
— Chris SKYES

It's versatile

Upon close inspection, you might notice that the Zoom H6 has 4 XLR/TRS inputs, which can actually be expanded to 6 if you purchase the separate attachable head.

This can come in handy if you, for example, want to record a podcast in the studio. You plug in a microphone in each XLR input, and not only can you monitor the level of each individual track, but you can also record a safety track at -12 dB, in case one of the guests gets a bit too excited.

Need to record some location audio? Plug in a boom and a few radio mics into the inputs, and you're ready to go!

Want to record a demo with your band? Plug in the instruments and the microphones, and you can record on the go, wherever you might be.

It's modular


One of the things that I really love about the Zoom H6 is the fact that it's modular. The recorder itself comes with an X/Y capsule and MS capsule, but there are a few other capsules that you can purchase and use when needed.

Here is a list of the capsules which I could find, together with more information, and relevant Amazon affiliate links.


  • The Combo Input Capsule: This is the capsule mentioned before, which offers you an extra 2 XLR/TLR inputs.

  • MS capsule: This one comes with the Zoom H6 by default, but the really cool thing about it is that it also works on the Zoom H5, and the Zoom Q8.

  • X/Y capsule: This capsule also comes by default with the Zoom H6. This means that if the capsules stop working, you don't have to throw out the entire unit. You just need to purchase a replacement capsule, and you can keep on recording.

  • X/Y shock mounted capsule: Whilst this does not come by default with the Zoom H6, it is still compatible with it, as well as with the Zoom H5, and the Zoom Q8.

  • Stereo shotgun microphone capsule: Includes a super-directional microphone for picking up sound in the centre, as well as a bidirectional side mic for picking up sounds from the left and right. It is also compatible with the Zoom H5.

  • Shotgun microphone capsule: Highly directional, it allows you to record focused sound effects without having to carry a separate microphone and grip with the recorder. Whilst there are obviously better, and more expensive, shotgun microphones out there, this is a winning combo if you prefer to have a more compact set-up.

Build quality

The device itself feels really sturdy. The rubberised plastic casing also helps diminish handling noise if hand held, though I would wholeheartedly recommend getting this Rycote kit which contains a windshield, shock mount, and grip.


I've used it and it really helped to eliminate most of the handling noise. When I went on my last recording trip, I could only hear handling noise if I basically shook the whole thing really hard.

Tilted screen

The screen is obviously tilted, which is great when placed on a DSLR for location recording, or when monitoring whilst recording a podcast. There are situations in which the tilted screen doesn't help, but they are in the minority.

If I could make a suggestion, I would say that I would have loved it to have a swivel screen, so it could be tilted as needed.

Great for loud ambiences

Whilst on my last recording trip, I recorded some gorgeous ambiences, such as windy or rainy ambiences, or city ambiences. The Zoom H6 was actually used to record my Dormant Village audio library.

Super portable

The device itself is super portable, and it comes in a very sturdy case. I wish more portable recorders, such as the Sony PCM-D100 came in such a case.


Whilst the prices vary depending on where you are, the Zoom H6 remains a very affordable portable recording device.

Unbelievable battery life

Whilst on a recording trip to Transylvania earlier this year, and whilst recording all the time, I only really had to replace the batteries maybe four or five times. Zoom says it can record for up to 20 hours, and depending on the conditions, I'd definitely say that's true.

I left it to record rain ambiences overnight and 8-9 hours later it was still going strong. When I checked the battery status, it wasn't even half-way depleted.

Jin from ODDVISIONARY has mentioned that you can use an external USB battery to power the recorder as well. This could come in handy if you run out of batteries, as most people are likely to be carrying a USB battery pack with them anyway.

Ease of use


I found the design and menus to be really intuitive and easy to use, and changing capsules is also painless and quick to do. When under time constraints, this is a massive plus.

It records high quality audio

The Zoom H6 can record audio up to 24bit/96kHz, which is great if you record ambiences or sound effects. If you're recording a podcast, or dialogue, there's no real need to go above 24bit/48kHz.

Now that I've talked about all the pros, I want to talk about the cons.

Tilted Screen

I would have loved to see a flip screen on the Zoom H6, like you see on some DSLR cameras. Whilst the tilted screen is a pro in most situations, there are instances where being able to move it around a bit would come in handy.


Whilst some Zoom recorder pre-amps tend to not be seen in a positive light online, I want to make it clear that the Zoom H6 is miles above in terms of quality and noise.


If you want to record super quiet nature ambiences, the Zoom H6 would not be my first choice. For literally anything else, it's an amazing, affordable, and portable choice!

These have been my thoughts on the Zoom H6, after using it for months. If you click on any of the links above, it will take you to Amazon, where you will be able to view the price of the item in question, along with more specs.

If you’d like to see a comparison between the Zoom H6, and the Zoom H5, I’ve written an article on it here.

Do you have any questions? Feel free to leave a comment down below.

Thank you very much for reading, and I'll see you next week! 

Disclaimer: The product links above are Amazon Affiliate links, and I earn a commission from qualifying purchases.

Product Links

Down below you will find all of the items I talked about in this article.

How I Made My Most Successful Sound Effects Library to Date by Chris Skyes

The groundskeeper walks up to the wooden doors of the old building, thrusts a large metal key into the lock, and then turns it, before the house opens up with a creak.

'Good luck,' he says, as he hurries away.

I take a look inside to see a vast building, covered in dust and black mould, imagining the kind of life the family that lived there a hundred years ago might have lead. I place my bag down and carefully install my respirator, before I walk inside, the sound of my footsteps echoing throughout the curiously shaped building.

As I walk around the house, inspecting all the doors that I could record, I felt my pace quicken with excitement. Such a large house, with literally nothing better to do, just waiting for me to record it.

Making my way back to the entrance, I take my equipment out, set it up, and I begin recording the doors, in all their might.

With every movement, the shrieking sound of old wood and metal hinges resonated throughout the mansion.

As I moved from room to room, I tried to image what purpose each might have served. Perhaps this room was used as a living room, as it overlooks the town at the bottom of the hill. Or maybe this is where the father established his private office, where he could smoke and look at the adult photos he had locked up in his bottom drawer, right next to his revolver.

I digress.

Making my way through the house, I begin slamming and hitting the doors, the entire house shaking with each impact, black mould and dust flying freely through the air. The strange shape of the building gave each impact interesting resonance, adding to the character of the recordings.

As I looped around the house, ignoring all the sounds and creaks coming from the seemingly empty rooms, I stumbled across two large wooden doors, similar to the kind you would find upon entering an 18th century European Ballroom. Rather relatable, I know.

I swung them open a few times, which made a grandiose sound, and then I scurried out of the building, before I slowly drove myself insane.

After repeating the process a few more times at an abandoned house, warehouse, and another mansion, I found myself back at my lair in London. My eyebrows furrowed with doubt, I scrolled through the endless tracks, clips, and takes that I had to edit through.

Nevertheless, I'm a good boy, so I got started straight away, cleaning up the audio, putting iZotope RX to work, chopping up and editing different takes, writing awesome metadata, etc.

After weeks of work, I was done. The absolute mess of clips that I on my computer was now organised into sweet .WAV files, dripping with metadata, inviting you to press play.

Anyway, as I was saying, I was standing there, all proud, looking at this neatly packaged library, gently shedding a tear. Before uploading it, I didn't quite know how popular it was going to be.

After posting about it on Facebook, and getting some great feedback from George Vlad, I knew people were excited, but I didn't quite realise how popular it would be, trending on for a couple of weeks.

If you've purchased Abandoned Doors, I want to say thanks! I hope you got good use out of it, you're awesome, and you make what I do so much fun. If you haven't purchased it yet, you can get it here

 *Wink Wink, Nudge Nudge*

Also, if you’d like to learn more about how you can get started recording sound effects, I’ve written an article about the gear you need here.