Garbage sound effects, 4 libraries in all. Most are filed under Destruction and Metal, and they come from 3 different publishers, each card showing its formats and sample rates.
96 kHz, 24-bit. Formats: Mono, Stereo, Surround, Ambisonic B.
Comprehensive collection of 995 high-quality sound effects featuring metal movements, impacts, and plate interactions, totaling over 7GB of professionally recorded audio material.
Comprehensive collection of 350+ realistic debris sound effects capturing heavy impacts, destruction, and friction across materials like wood, metal, glass, and concrete.
An extensive collection of wood destruction and impact sound effects, featuring synchronized microphone recordings and LFE tracks, captured in pristine 24/96 quality.
This comprehensive collection features 179+ metal debris sound effects, combining devastating impacts, whooshes, and high-quality recordings suitable for multimedia production and film projects.
Massive steel plate recordings captured using multiple microphones deliver synchronized sound effects, featuring rich doppler movement and seamless transitions between contact and live mic perspectives.
Diverse metal sound effects encompassing various interactions, from resonant rings and rolling movements to impactful drops, featuring steel, iron, and other metallic materials colliding and sliding.
Comprehensive collection of high-quality demolition sound effects features falling debris, breaking glass, and construction chaos, offering various lengths and intensities for immediate project implementation.
Advanced metallic sound effects captured in an abandoned factory, featuring impacts, rattles, and movements in both stereo and quad formats, complete with natural hall reverb and close-mic recordings.
Various metal friction sounds, from rusty components to heavy slams and locks, deliver authentic sound effects through 156 realistic elements suitable for diverse project applications.
Coll Anderson's entire catalogue: 32 libraries, 196.4GB of doors, ambisonics, crowds, creatures and more, from a Hollywood supervising sound editor with 30 years of credits.