Low Frequency sound effects for the very bottom of the mix. Booms and sub impacts, thunder hits and reverse hits, plus low layers for natural disasters, explosions and creatures. Most of it is built to sit under something else and make it bigger. Deep stuff. Drones and spaceship interiors cover the long, steady end.
This bundle provides over 1,500 low-frequency sound effects, including natural disasters, explosions, creatures, and drones. These subsonic elements add depth to game audio, film post-production, and music compositions.
Low frequency rumble sound effects isolated from passing traffic in the 0-500Hz range, featuring quakes, tremors, rises, hovers, swells, and pitch bends recorded at 192kHz with Sennheiser and Sanken microphones.
Low-frequency impact sound effects spanning 250 files of booms, huge and sub impacts, reverse hits and thunder impacts, delivered at 96kHz 24-bit for action scenes, fights and special effects.
A collection of 76 low-pitch bass sound effects characterized by distortion, glissando, vibrato, and pitch instability. The library includes mono and stereo WAV files.
Capturing vibrations from household devices, this collection delivers atmospheric drone and bass sound effects, providing layered tension elements for film, gaming, and TV productions.
This specialized collection features 450 layered sound effects, including split-frequency whooshes and impacts, providing essential elements for creating dynamic audio transitions and movements.
This comprehensive electrical sound effects collection spans data signals, motors, interference patterns, and switches, featuring both analog and digital tones across eight distinct categories.
Expansive collection featuring 2,130 futuristic vessel ambiances, encompassing various sound effects from room tones to alarms, delivering over 4 hours of spaceship interior atmospheres.
This versatile collection delivers 607 dry sound effects, featuring fantasy and sci-fi whooshes, impacts, and projectiles, with multiple variations per file and additional frequency-split design elements.
Most low frequency work is layering. A punch, a door slam or a gunshot gets a low element tucked underneath and lands harder, which is why many of these come as elements rather than finished sounds. The split-frequency whooshes and impacts let you take the low layer of a hit and leave the rest. Designed sweeteners cover disasters, explosions and creatures, and the Sub impacts and booms suit Trailer hits and fight scenes. Electrical fields and motors give a low bed under machines. On small speakers a lot of this vanishes, so it works best with something higher riding on top.
