Interference

Electrify your mix with electromagnetic whooshes, glitches, and more.

641 files · 9.76 GB · Metadata

$104$149

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Featured sounds

Analog Synth Detuned Oscillator Swarm Shrill Harsh Pass By, Swish, Filter Sweep, Transition, Pass By

Swooshes · Whoosh

Garbled Radio Voice Transmission Fighter Pilot, Military, Air Force, Top Gun, Action, Sci-Fi, Jet, Distorted, Interference, Static, Return to Base Bingo Fuel, Jumbled

Communications · Radio

Electromagnetic RF Interference, Radio Static, Electronic Noise, Glitch, Transmitter Reciever, SOMA Labs Ether, Buzz with Distorted Overtones

Communications · Static

Hit or Impact with Tuned Delay Power Chord, Trailer Effect, Sound Design, Stinger, Riser, Transition, Jump Scare, Sci-Fi, Cinematic

Designed · Stinger

User Interface Hi Tech Metallic Ratcheting, Technology, Sci-Fi, Game, Future, Futuristic, Granular Synthesis

User Interface · Misc

Overview

Inject intensity with the explosive whooshes, staticky drones, and robotic blips of Interference – a complete electronic sound design toolkit. Add personality to your sci-fi, fantasy, and horror projects with unmatched gritty and dark sound effects of robotic radio static, scans, morphs, glitches, risers, and more.

The Interference library was recorded and produced by Jason Strawley and Andrew Garraway using the SOMA Laboratory Ether recorder and an array of synthesizers ranging from modern, modular synths, to vintage hardware from Moog and Dave Smith Instruments. Created by hand with electromagnetic field recordings and advanced synthesis, this library covers a wide tonal spectrum ranging from surgically precise to warm and analog. With raw recordings captured at 192kHz, this library allows for endless pitching and processing to add distortion, grit, and character to your projects. Designed braams, womps, flutters, and radiation make these sounds ready to add right to your trailers, video games, films, and more.

“This library was a work of obsession, and we brought our same level of pristine recording standards that we use for our organic recordings into the electronic world. While other electronic libraries lean into digital ‘in the box’ sounds, we committed to using EM recordings from the real world with their own life and character, and also used hardware that required plenty of live performance of sounds to set this apart from other ‘bleep and bloop’ libraries.” - Jason Strawley