SOUND EFFECTS Blog

INTRODUCTION

In sound design, creativity often begins not in a plugin or a library, but in your own kitchen drawer, workshop, or recycling bin.

From rattling keys to scraping chairs and bouncing basketballs, found objects—the everyday, overlooked things around us—are an incredibly powerful and accessible source of sonic inspiration. Whether you're on a tight budget or just want to push your creativity further, building your own SFX from the ground up using household materials is one of the most rewarding ways to design sound.

In this blog, we’ll explore the benefits of conducting sound design with everyday objects, share real-world examples, and walk through practical recording tips to help you turn the ordinary into something extraordinary.

Why Use Found Objects in Sound Design?

Conducting sound design with everyday objects has long been a staple in both professional Foley and experimental sound design. Here's why:

Easy Access - Found objects are, by definition, things you already have. Whether it’s kitchen utensils, tools, packaging, or old furniture, there’s no need for a studio full of gear to get started, just a keen eye for creativity.

Potential To Create Unique, Original Sounds - Unlike downloadable SFX libraries, using found objects ensures your recordings are one-of-a-kind. No one else has recorded that specific kitchen knife scraping across a metal grill, processed correctly, that could be your signature alien movement sound.

Great For Learning & Experimentation - Physically interacting with your sound sources helps you understand how materials behave sonically. You develop instincts around timing, energy, resonance, and texture in ways you don’t by dragging and dropping from libraries.

‍Budget-Friendly and Creative - For students, freelancers, or small teams, it’s the most cost-effective way to build a diverse sound library. Plus, it often leads to happy accidents and creative breakthroughs you wouldn’t have found otherwise.

Examples of Found Object Sound Design

Found sounds are not just for “cheap” replacements. Many professional sound designers intentionally choose these methods to get results that libraries can’t provide, and once you start to recognise the formulae behind the creation of certain sounds, they might just turn into your go to method. Here are just a few tried-and-true examples of found object sounds used in professional and indie sound work: 

Coconut shells - Still used today to mimic horse hooves in Foley sessions.

Plastic Bottles - Provides a number of creative options: Crinkled, crushed, or tapped to simulate bone breaks or insect movement. Apply light crushes to emulate the sound of fire crackling.

Wrenches, Screwdrivers & Chains (& Other Tools) - Either use them as they were intended and record their practical usage, or take advantage of the heavy nature to create metal impacts, scrapes, machine mechanics, and high pitched clangs for weapon sounds.

Balloons - Another simple object that provides a number of uses: Release the air from the balloon at different intensities to create different air pressure sounds, high pitched squeaks for screams or hissing valves, and loose for deep breathing or dragon-like exhalations when slowed down. Scraping the side of a balloon with your hand can create a unique friction effect that can serve great as a layer for a monster roar when manipulated correctly.

Rulers flicked on table edges - Turn into sci-fi laser zaps or UI bloops with pitch processing.

Moist Leather Chamois Cloth - Moisten the cloth by running it under some water, and squelch it at varying intensities for gore and blood sounds.

Bubble wrap - For bone cracks, popping spells, or creature skin movement.

Feathers & Leather Glove - Holding these together and performing a flapping motion can be a great trick to emulate the sound of bird wings flying away.

Bowl of Water & Straw or Tube - use the straw or thin tube to blow into your bowl of water to create a bubbling effect that could be used for lava or magma.

Tinfoil, Drawing Paper, Envelopes - Crushing materials like tinfoil, drawing paper, and envelopes separately, then layering the recordings together, can be a highly effective way to recreate the textured rumble and snap of a thunder and lightning effect.

How to create thunder and lighting link: https://www.facebook.com/reel/1342541970414001

Recording Tips for Found Object SFX

Capturing high-quality recordings from everyday objects doesn’t require a full studio, but a bit of planning and awareness goes a long way. These tips will help you get clean, usable, and expressive recordings from whatever items you’re experimenting with.

Mic Choice & Placement

The microphone you use, and where you position it, will significantly shape the tone and detail of your sound.

• Use a condenser mic or shotgun mic for detailed, close-up sounds like paper tears, plastic creaks, or subtle mechanical movements.
  
• Dynamic mics are great for louder, more aggressive impacts.
  
• Place the mic close to the source, but not too close, especially with air movement or sharp transients like balloon pops or bottle crunches.
  
• Record at different distances to capture both detailed and ambient layers.

Control the Recording Environment

Found object recordings often contain delicate textures and high-frequency detail, which means background noise can easily interfere.

• Choose a quiet space with soft surfaces to reduce reflections. A carpeted room or makeshift booth with blankets works well.
  
• Turn off nearby appliances, electronics, or fans that hum or buzz.
  
• Place objects on towels, foam, or blankets to absorb excess reflections if needed.

Experiment with Surfaces

The surface your object interacts with can dramatically alter its sound.

• Tapping a spoon on wood adds warmth and body.
  
• Striking glass gives you sharp, brittle tones.
  
• Using metal adds a cold, ringing texture.
  
• Try each object on multiple surfaces to discover the tone that fits your project.

Monitor Closely and Watch Your Levels

Clean recordings depend on proper monitoring and gain staging.

• Use closed-back headphones to block out ambient sound and hear exactly what the mic captures.
  
• Keep levels in check—if the gain is too low, you'll miss important details. If it's too high, you risk distortion or clipping.
  
• Watch out for handling noise. Use mic stands, isolation pads, or gloves to avoid unwanted movement.

Record at a High Sample Rate

• Always record at 96kHz or 192kHz when possible.
  
• Higher sample rates give you greater flexibility when pitching or stretching sounds without introducing digital artefacts.

For more information regarding common mistakes in the SFX creation process, check out our blog post: 5 Common Mistakes Made When Creating Sound Effects (and How to Avoid Them).

Creative Processing Techniques

Once recorded, it’s time to unleash the power of your DAW. Found sounds can become unrecognisable and incredibly cinematic, with a bit of processing.

Pitch Shifting

Lowering the pitch of a squeaky hinge can turn it into an ancient creaking door. Raising it might make it into a comedic cartoon accent.

Layering & Stacking

Blend your object with other recordings to add depth or character. For example, mix a bottle crunch with a rock hit for a stylised body fall.

Granular and Time-Stretch Effects

Slowing down short, sharp sounds (like tapping glass or flicking metal) can reveal hidden textures, making them feel like sci-fi drones or magical pulses.

Reverse + Reverb

Classic combo for adding tension, otherworldliness, or dramatic reveals.

Distortion, Filters, and Modulation

Take a clean sound and destroy it—run it through guitar pedals, bitcrushers, or filter sweeps for high-energy trailer hits, glitch FX, or lo-fi sounds.

Outro

Working with found objects reminds us that sound design doesn’t need to be complicated to be powerful. Some of the most memorable and emotional sound moments come from the simplest sources—transformed through creativity, attention, and good technique.

Stay Curious - Conducting sound design with everyday objects thrives on curiosity. If you hear an interesting sound while cleaning, fixing something, or cooking—record it. The more you train your ear to listen for potential, the more powerful and versatile your sound palette will become.

This type of design isn’t just resourceful—it’s fun. There’s something deeply satisfying about creating a huge cinematic moment from a piece of junk mail or an old fan motor.

So next time you’re about to throw something away, hit pause. Shake it, hit it, bend it. You might have just found your next great sound.

‍

If you’re inspired to start building your own collection of unique SFX but want a head start, check out our Fantastic Foley bundle. It’s packed with high-quality recordings of found objects and everyday materials—captured, curated, and ready to drop straight into your projects. From expressive prop handling to natural cloth sounds and detailed footsteps, it’s the perfect companion to your own experiments and a quick way to expand your sonic toolkit. CLICK HERE FOR MORE.

‍

‍

Introduction

Creating great sound effects takes a mix of technical skill, creative thinking, and a sharp ear. Whether you're designing hits for a game, building tension in a film, or adding subtle atmosphere to a scene, sound effects play a huge role in how stories are experienced.

But even the most experienced sound designers run into pitfalls. From overprocessing to messy workflows, there are a few common mistakes that can derail even the most promising projects. In this blog, we’ll walk through six of the most common mistakes made when creating sound effects, and how you can avoid them to level up your sound design work.

1. Incorrectly Capturing Sounds

No amount of creative editing can truly fix a poorly captured recording. One of the most common mistakes made when creating sound effects is failing to pay attention to the technical quality of their recordings, especially in terms of signal-to-noise ratio and sample rate.

Signal-to-Noise Ratio Matters

Getting clean input is critical. If your gain is too low, you’ll end up with noisy recordings that need aggressive boosting in post, bringing unwanted hiss or hum with the finished sound. Too high, and you risk clipping and distortion.

Example: Recording a fire crackle too quietly may seem like a safe move, but raising the gain later will amplify all the noise from your mic, recorder or computer. You lose the detail and texture that made the recording useful in the first place.

Tip: Always monitor with headphones. Keep your levels healthy, aiming for a strong signal without peaking, and reference the loudness of your recordings to other finished sounds either in a purchased library or through platforms such as Soundly. Pay attention to background noise and avoid recording in environments you can’t control. Close any windows that may be open within your recording space, and turn off any air conditioning units or anything that has the potential to create a hum. Mic placement also plays a huge part in achieving a good signal to noise ratio, so if you know that a sound is going to be quiet, or not very transient heavy, then play around with moving the mic closer to the sound source and tweaking the gain where necessary.

Use a High Sample Rate

Recording at low sample rates (like 44.1kHz or 48kHz) limits your flexibility. This may be fine for casual content, but for professional-grade SFX, especially those that require pitch-shifting or stretching, higher sample rates are essential. Not only does a higher sample rate give you flexibility in the editing process, but it will actually serve well if you are looking to distribute or sell your sounds in the future, as many creatives and sound designers in the industry will only purchase sound effects if they are in 24bit 96kHz, or 192kHz playback.

Example: A sci-fi UI beep recorded at 44.1kHz will most likely lose fidelity when pitched down for impact. At 96kHz or 192kHz, the same sound holds its clarity even under heavy processing.

Tip: Record and export your sounds at 24-bit/96kHz or higher. It gives you more post-production flexibility and aligns with industry standards across film, games, and broadcast. This is done at the very start of the creation process when you are creating your session in your DAW of choice.

2. Ignoring the Context of the Scene

A sound may be well-recorded and well-designed, but that doesn’t mean it fits. One of the most common issues we see is designing sound effects in isolation, without considering their role within the scene.

Example:

You create a slick, layered whoosh for a sword swing. It sounds great solo, but when dropped into a fight scene, it drowns in the music and competes with other action cues. It’s not wrong, it’s just not right for that moment. It could even sound too dramatic, or too ‘Hollywood’ for that particular scene or production, leading you to create something a little less dramatic, or with a different tonality.

The same problem can happen with ambiences. For example, using a dense urban soundscape in a quiet countryside scene immediately breaks immersion. Even well-recorded ambiences can feel out of place if it doesn’t match the tone, setting, or geography. Check out our ‘How To Record Ambiences’ blog to dive deeper into this.

Tip:

Always preview your sounds in context. Ask yourself:

• Does this match the environment on screen?
• Does it support or distract from the scene’s emotion?
• How does it interact with music, dialogue, and other SFX?
• Does my sound match the desired time period of the scene/project?
• Does the sound created match the object that it is integrated with? For example using a real gunshot sound for a sci-fi weapon would sound and feel completely wrong.
  

Design for the mix, not just the timeline.

3. Overprocessing the Sound

The process of sound design and audio creation offers a vast toolbox, EQs, compressors, reverbs, saturators, transient shapers, modulators, and more. But overusing these tools can do more harm than good. When a sound is processed too heavily, it can lose its natural dynamics, clarity, and character, becoming flat, brittle, or even fatiguing to listen to.

Example: Let’s say you’ve recorded or designed a series of gunshots. In the process of wanting to make it sound more “cinematic,” you add saturation for warmth, reverb for space, EQ to boost the highs and distortion to add more harmonics and make the sound appear more aggressive. Individually, these moves make sense, but together, they have the potential to push the sound into an overly polished, synthetic space that feels disconnected from the rest of the mix. Overusing compression can sometimes hinder a sound, and even be quite deceptive, because although your effect may sound more consistent and balanced overall, due to the harsh compression you have now actually negatively affected the transients, removing any natural punch and bite that your sound once had.

Tip: Use processing to slightly enhance, not to repair. Start with a strong sound source and a clean recording, then build around it. When applying effects, ask:

• Does this help the sound sit better in the mix?
• Am I solving a problem or just piling things on?
• Maybe I should reference my sound to other creations within the industry?
• Has ear fatigue negatively affected my overall perception of the sound?

Subtlety often wins. Trust your ears, compare against the original regularly, and don’t be afraid to dial things back if the sound starts losing its punch or authenticity.

4. Using Too Many Layers

Layering is a fundamental part of sound design, it allows you to build rich, textured effects that feel full and immersive. But when you stack too many elements without a clear structure, you risk cluttering the sound and diluting its impact. The result is often a muddy, unfocused effect where nothing stands out.

Example: You’re designing a zombie vocal for a cinematic trailer. You layer multiple human growls of varying intensity, pitched-down pig squeals, and processed animal snarls. The intention is to make it terrifying and visceral, but the result is an indistinct wall of sound. None of the elements cut through clearly, and the performance loses its realism and emotional bite, it’s just a mixture of noise with no attention paid to the actual composition or performance of the sound.

Tip: For a zombie growl that feels rich and layered but not overly cluttered, start by selecting one strong vocal performance as your foundation, something that already captures the character you’re going for. Record a few variations (even on your phone or home setup) and choose the one that feels the most convincing and expressive.

Once you’ve settled on a specific groan, re-record it three to four times, matching the same timing and phrasing, much like stacking harmonies in a song. From there, assign each take a role in the frequency spectrum:

• One for mid-range detail
• One for low-end body
• One for high-frequency texture
• Use the fourth layer for experimentation, try adding phasing, pitch bends, or other modulation effects to introduce instability and tension.
  
  

Adjust the pitch and timing slightly between layers to create that eerie, otherworldly texture zombies are known for, without losing definition or punch.

5. Not Paying Attention to File Management

Strong sound design isn’t just about what you hear, it’s also about how well your work is organised behind the scenes. One of the major common mistakes made when creating sound effects is poor file management. It can slow down your workflow, create confusion in collaborative projects, and make it harder to revisit or reuse your own work in the future. 

Even small missteps, like vague filenames, inconsistent folder structures, or forgotten export settings, can cause problems down the line.

Example: You create a project called ‘Sound Design Session 13’ (because you haven't been properly naming your sessions over time). You then export a batch of sound effects as - SFX_Final.wav, SFX_Final_FINAL.wav, and Door_Thingy.wav. A few weeks later, a client requests a revision, and you have no idea which session or version you used. You now find yourself spending more time searching than designing.

Tip: Use clear, consistent naming for your projects such as ‘Wooden Doors Vol. 1 17/07 AS’ (AS being the initials of your name). Also apply the same standards to your exported sounds such (e.g., Wood_Door_Creak_Long_96k_Wooden Doors Vol. 1.wav), group sounds by category or project, and maintain a logical folder system. If you're planning to share or license your work, embedding metadata or following standards like UCS makes your files easier to search and more professional overall.

Good file management saves time, reduces stress, and gives your work long-term value.

‍

6. Overlooking Performance and Physicality

Sound design isn’t just technical, it’s also performative. When you rely solely on DAW editing and digital manipulation, your effects can start to feel static or lifeless. Adding physicality, by recording real movements or performing the sounds yourself, can inject energy, realism, and a sense of spontaneity that’s hard to fake. To achieve the best outcome with these types of performances, is to act as if you are the protagonist on screen, and not just someone recording sounds in a studio.

Example: Instead of building a cloth rustle using generic drag-and-drop library sounds, which can sometimes prove difficult trying to find the correct sound to match the moving image, try grabbing a jacket and recording yourself mimicking the movement. The subtle inconsistencies and natural rhythm of real movement often make the effect feel more alive and grounded.

Tip: Step away from the timeline now and then. Handle objects, interact with props, or even use your voice for creature or character sounds. Slight mic movements, changes in proximity, and timing imperfections all add a sense of realism that pure editing can’t fully replicate. Instead of using a pre-made footsteps library, grab some shoes and a suitable surface, and perform the sounds yourself as if you are the character on screen, and if you need to emulate a crunchy gravel sound indoors, then a layer of salt granules (preferably grit) on the floor will do the trick!

Even in stylised sound design, physical performance adds personality and nuance, and that’s often what makes a sound stand out.

Conclusion

Sound design is all about intention, balancing creativity with control. Avoiding these six common mistakes will help you produce clearer, more effective sound effects, while also improving your workflow and collaboration. From capturing clean recordings to mixing in context, every decision shapes the emotional power of the final piece.

ELEMENTS ENHANCED - If you’re looking for a versatile collection of sound effects that blends both designed and recorded material, we recommend checking out our Elements Enhanced bundle. It features a wide range of elemental textures, from fire crackles and electromagnetic surges to foliage movement, liquid splashes, glass impacts, and more, designed to bring depth and realism to any scene. Click the link here or the image below to find out more!

‍

INTRODUCTION

Utilising ambient recordings can be one of the most effective ways to build immersion and a sense of place within a project. Whether it’s the subtle hum of a city street, the distant rustle of trees, or the eerie stillness of an empty room, ambiences help glue scenes together and also aids in placing the audience within a specific situation or space. Although incredibly useful, incorrect usage of ambiences can also draw your audience away from a specific scene or moment, leaving the viewer to feel detached or lose their focus. In this guide, we’ll walk you through the process of how to record ambiences, the gear you'll need, and practical techniques to help you capture high-quality atmospheric sounds, whether you're a filmmaker, game dev, or aspiring sound designer.

WHAT ARE AMBIENCES & WHY RECORD THEM?

Ambiences (also known as backgrounds or environmental sounds) refer to the subtle, often unnoticeable sonic textures that define a space. Unlike Foley or SFX, ambient sounds don’t draw attention to themselves, they create context. Think of wind gently moving through leaves, a quiet hum in a cafe, distant traffic muffled by fog, or even the dense low end rumble of being situated in a volcanic environment.

Recording your own ambiences gives your work a sense of real-world authenticity and emotional depth. Libraries are useful, but nothing beats the tailored feel of capturing exactly what your scene needs, on your own terms.

WHEN AND WHERE TO RECORD AMBIENCES

Ambiences can be recorded anywhere, but timing and location play a huge part in making sure that your recording is successful. Early mornings can be useful in capturing natural bed ambiences such as the raw tone of a residential street, this is due to less cars and people being on the roads. You will soon come to realise that field recorders are a powerful tool, and possess the capability to capture even the faintest of sounds from a large distance away, so if you don't intend to have other elements such as traffic, pedestrians and construction within your recording, then we highly recommend to record at a time of day when everyone is resting and asleep, such as early mornings or very late nights.

Recording at nighttime offers a completely different sonic character, and the natural ambience of day and night sound very different from one another. This is due to air temperature at a specific time of day. At night, the air near the ground tends to be cooler than the air above it, creating what’s known as a temperature inversion. During the day, the air is usually warmer near the surface and cooler higher up.

• At night: The cooler surface air causes sound waves to bend back toward the ground (downward refraction), making them travel farther and seem louder in some cases.
  
• During the day: Sound waves bend upward into the atmosphere (upward refraction), often dispersing sound more quickly and reducing how far it carries.

Common places for field recordists to explore:

• Urban Streets, Towns, Cities, Villages
• Alleyways, Factories, Train & Bus Stations
• Cafe’s, Restaurants, Pubs, Offices, Public Buildings
• Inside Vehicles, Motorways & Highways, Tunnels
• Forests, Caves, Mountainous areas.

Remember to always keep in mind how weather, time, and human activity affect the mood and noise profile of a location when recording your own ambiences.

RECOMMENDED RECORDING GEAR

When learning how to record ambiences, you will find that you don’t need a high-end studio setup to capture a great ambience, but having the right tools makes a big difference in both the quality of your recordings and the ease of your workflow. Whether you're new to field recording or working professionally, a well-prepared kit helps you capture clean, immersive audio in any environment.

Field Recorders

A reliable field recorder is the foundation of your setup. These portable devices combine preamps, storage, and monitoring in one convenient package. Here are some trusted options:

• Zoom H5 / H6 – Versatile, affordable, and beginner-friendly. Comes with interchangeable mic capsules and multiple inputs for expanding your rig.
  
• Zoom F6 – A step up for professionals, featuring 32-bit float recording, which is great for dynamic ambiences that may include unpredictable volume shifts.
  
• Tascam DR-40X / DR-100MKIII – Solid alternatives with dual-recording safety tracks and high-quality stereo capture.

When choosing a recorder, aim for 24-bit/96kHz audio quality or higher to preserve the full dynamic range of environmental recordings.

Microphones

Many field recorders come with built-in stereo microphones, which are great for starting out. However, external microphones often offer better fidelity, stereo imaging, and directionality.

• Stereo Mic Pairs – Ideal for natural ambience with a wide stereo field. Matched pairs provide realistic spatial positioning.
  
• Ambisonic Microphones – For 360-degree capture, consider mics like the Zoom H3-VR or Rode NT-SF1. Great for VR/AR content or spatial design.
  
• Shotgun Mics – Useful when you want to isolate specific elements within an ambient scene (like birds or distant traffic), especially in noisy environments.

Accessories

Don’t overlook the small tools that make a big difference in the field:

• Wind Protection – A must-have for outdoor recording. Use furry windshields (“dead cats”) or blimps to reduce wind rumble.
  
• Tripods or Stands – Helps eliminate handling noise and lets you leave the recorder in place to capture natural ambience over time.
  
• Headphones – Closed-back headphones allow you to monitor recordings in real-time and catch unwanted noise before it's too late.
  
• Extra Batteries & SD Cards – Ambient recording often involves long takes, so always come prepared with backups.

Recording Techniques

Recording your own ambiences isn’t just about pressing record, it’s about stopping yourself in the moment, listening actively, understanding your environment, and making thoughtful decisions about where, when, and how to record. Here are some essential techniques to help you get the best results when recording ambient sound.

Give It Time

Ambient recordings need time to evolve. Instead of short takes, aim to record 5 to 10 minute clips, or even longer. This allows the natural rhythm of the environment to unfold, such as distant dogs barking, shifting wind, and the occasional car passing, all of which contribute to a more believable and usable soundscape in post-production. Recording for longer also gives you access to more content should it be needed, for example you may be recording a town centre ambience, but upon review you hear a distant drill humming in the background which you didn't notice within the moment of recording, having more content to choose from allows you to make cuts in the editing process, while still having enough audio to produce a full and finished ambient recording.

Mind Your Mic Placement

Your microphone’s position will dramatically affect the texture and spatial quality of your recording. For natural stereo recordings:

• Avoid standing too close to reflective surfaces (like walls or concrete floors) that can cause unwanted echoes or reverberation.
• If possible avoid standing too close to the mic set up to avoid any human noises being included in the recording, such as mouth movements, breathing, swallowing, coughs, body movements etc. If using a handle grip that is attached to your recording device, just be conscious about making any of the noises that we just mentioned.
• Use a mic stand or tripod whenever possible to eliminate handling noise, especially during long takes.
• When recording an environmental ambience don't stand too close to a specific sound source, for example if you are trying to capture a city recording, don't stand directly next to loud vehicles or constant traffic, try to record in a more isolated location such as on top of a small building or a rooftop car park.
• When recording room ambiences, try to consider recording in multiple positions to capture different sound reflections within the room. Also try to record a multitude of different room types such as small rooms, large rooms, kitchens, bathrooms, etc, as each space possesses its own sonic identity that an audience member will pick up on if not utilised correctly.

Maintaining control over your signal-to-noise ratio is essential when recording ambiences. For louder environments, use a lower gain setting to prevent clipping, but be careful not to lower it so much that you miss important sonic details. On the other hand, quieter ambiences often require higher gain, which increases the risk of capturing unwanted background noise, peaks, or mic self-noise. Striking the right balance takes practice when learning how to record ambiences, and over time, you’ll develop a feel for how to adjust levels based on the dynamics of the space you're recording in.

Remember to reference what you are listening to with headphones that are connected to your recording device so that you can hear exactly what your mic is capturing.

TIP: Try this workaround for windy locations: if strong gusts are overloading your recorder even with a windshield, move indoors to a parked vehicle. Place the mic or recorder on the center console (or dash) and crack the windows halfway (adjust as needed). The car body blocks direct wind blasts while still letting exterior ambience and air movement reach the mic. Just be sure the engine and fans are off to keep the noise floor low.

Creative Applications & Layering

While ambient recordings are often used to create natural, realistic environments, they can also be a powerful creative tool. Layering different ambience tracks, such as blending distant traffic with birdsong, or pairing light wind with subtle mechanical hums, can help you build textured, emotionally rich soundscapes that guide the listener’s experience without drawing attention to themselves.

You can also experiment with EQ, reverb, or pitch-shifting to subtly alter the tone and mood of your recordings. Stretching or slowing down a gentle breeze, for example, can make a scene feel dreamlike or surreal. Combining real-world ambiences with synthetic elements or processed textures can also be effective, especially in genres like sci-fi, horror, or fantasy where environments are imagined rather than real.

Ultimately, ambience isn’t just background, when used creatively, it becomes a storytelling tool in its own right.

Organising Your Ambience Library

Learning how to record ambiences is a long process, but as you progress and your collection of recordings grows, staying organised becomes crucial, especially if you plan to reuse your sounds across projects or build a professional sound library. Start by giving each file a clear, descriptive name that includes key details like the location, time of day, and type of environment. For example: Forest_Evening_Birds_Rain_24bit96k.wav

It’s also helpful to include technical info, such as bit depth and sample rate, in your naming or folder structure, and to group files by environment (e.g., urban, natural, interior).

Consider tagging or embedding metadata using formats like UCS (Universal Category System), which makes your files easier to search and categorize, especially helpful if you're sharing or collaborating with other sound designers.

Staying consistent with naming and archiving not only saves time during production, but also ensures your recordings remain accessible, professional, and ready to use at a moment’s notice.

Conclusion

Recording ambiences is one of the most rewarding aspects of sound design. It teaches you to slow down, listen deeply, and appreciate the subtle sonic details that shape the world around us. Whether you’re capturing the buzz of a city at rush hour or the quiet stillness of a remote forest, ambient sound has the power to ground your scenes in reality, or take them somewhere entirely new.

So grab your recorder, head outside (or inside), and start exploring. With every take, you'll sharpen your ear, expand your library, and uncover new layers of creative possibility.

‍

Purchase Ambiences With 344 Sound Effects

If you're looking for high-quality, ready-made ambiences to drop straight into your projects, without the time and effort of recording and editing yourself, be sure to check out our UK Ambiences and World Ambiences SFX bundles. Available on our product page (or via the links below), these collections offer a rich variety of authentic environmental recordings.

The UK Ambiences bundle features sounds from across the country, including cities like Manchester and London (above and below ground), as well as coastal locations such as Blackpool and Bournemouth. Meanwhile, World Ambiences delivers recordings from 14 countries across the globe, including the U.S.A., Brazil, Macao, Hong Kong, Japan, India, Spain, Greece, Bulgaria, and many more, giving you a diverse set of atmospheres to work with, wherever your story is set. Click the links or product images below for more information.

UK AMBIENCES LINK

WORLD AMBIENCES LINK

Introduction

Water is one of the most versatile, and deceptively challenging elements to record in sound design. From a gentle drip to a crashing wave, water sounds can evoke calm, chaos, tension, or even comedy, depending on how they’re captured and used. 

While some sound libraries offer an immensely wide range of pre-recorded sound effects, it feels great to experience the texture and specificity of recording your own. But working with water comes with its own set of technical hurdles, such as splashes, unpredictable acoustics, and the ever-present risk of damaging your gear. 

In this guide we will show you how to record water, and we’ll explore the tools, techniques, and creative approaches you can use to record water safely and effectively, whether you're after a serene stream or the unpredictable chaos of water's motion.

Why Record Real Water?

Both recording your own water sounds and using a pre-made library come with their own advantages. The right choice often depends on your specific needs, access to equipment, and how much time you have to work with. Below, we’ll explore the benefits of each approach to help you decide what works best for your project.

Purchasing a bundle: 

• Get high-quality sounds instantly, ready to drop into your project
• Access a wide variety of water types without needing to record them yourself
• Perfect for tight deadlines and fast turnarounds
• Often more affordable than investing in recording gear
• No need to worry about location, weather, or recording conditions

Capturing your own water sounds:

• Full creative control over the sounds you capture
• Results in unique, original audio that’s truly your own
• Easily customize textures, tones, and environments to match your vision
• Potentially more affordable if you already have the right gear and access to a suitable location
• A valuable learning experience that helps build real-world sound recording skills

Ultimately, the choice between recording your own sounds or buying a library comes down to your preference and workflow. If you choose to purchase a bundle, be sure to evaluate its quality carefully. Look for reputable providers, assess whether the price and file size offer good value, and ensure the sounds include UCS metadata for easy organization. High-resolution audio (preferably 24-bit at 96kHz or 192kHz) is a must, and most importantly, confirm that the library contains all the water sounds you actually need to make the purchase worthwhile. If you’re considering purchasing a sound library, be sure to check out 344SFX’s own bundle, Water In Motion, a solid option for high-quality, versatile water recordings.

Recording Gear

When it comes to recording water, having the right gear is essential, especially if you're aiming to capture underwater sounds, just be sure to keep a few towels nearby, recording water can get unexpectedly messy! 

Underwater Recording

A hydrophone is a specialized type of microphone designed for this exact purpose. Unlike standard microphones that detect vibrations in the air, a hydrophone picks up pressure changes within the water, allowing it to record sounds beneath the surface with clarity and detail. This makes it perfect for capturing audio such as:

• Bubbling or gurgling
• Submerged splashes
• Aquatic life
• Underwater movement (like swimming or paddling)

The H2a Hydrophone is a solid microphone choice for anyone interested in underwater recording, offering reliable performance and clear sound capture beneath the surface.

Directional or Outdoor Recording

For focused outdoor recordings, like a flowing stream, crashing waterfall, or rain hitting a surface, a shotgun microphone is an excellent choice. These mics feature a narrow pickup pattern (typically supercardioid or hypercardioid), allowing them to capture sound directly in front while reducing noise from the sides and rear. This makes them ideal for isolating water sounds in environments where wind, wildlife, or distant traffic might otherwise interfere.

• Dripping taps or leaking pipes – Isolate sharp, clean drips in indoor or quiet settings
• Pouring water – From bottles, jugs, or buckets for use in Foley or kitchen scenes
• Waves or splashes – Focused outdoor capture of specific wave crashes or splashes
• Showers or streams – Isolate the direct water flow while minimizing ambient noise
• Hands interacting with water – Great for Foley (washing, stirring, scooping)
• Rain hitting specific surfaces – Leaves, metal, umbrellas, windows, etc.
• Sprays or mists – From spray bottles, hoses, or misting systems

The Sennheiser MKH 50 is a high-end directional microphone that's excellent for this type of recording. If you're looking for a more budget-friendly alternative, the Sennheiser MKE 600 is a solid and reliable option when learning how to record water.

Don’t forget PROTECTION: A creative tip for protecting your microphone from water splashes or if you don't have access to a hydrophone, is to cover it with a non-lubricated condom, a surprisingly effective DIY barrier that doesn’t significantly affect sound quality. However, keep in mind this isn’t a foolproof solution, so use it with caution and avoid exposing your gear to direct or heavy water contact whenever possible.

Wind protection is important even near calm water, and waterproof covers can save your gear from splashes or accidents. Keep a few towels on hand just in case! As for recorders, most portable field recorders, like the Zoom H5/H6 or Tascam models, are more than capable of handling water recordings with solid preamps and multiple input options.

Recording Techniques

Capturing great water sounds is as much about technique as it is about gear. Experimenting with different containers and surfaces can dramatically change the tone of your recording. Pouring water into a metal basin, for example, produces a sharp, resonant sound, while plastic or glass containers create smoother, more muted tones. Try combining various surfaces and water levels to achieve a richer, layered effect, or utilise other pouring techniques such as:

• Plastic gallon into plastic tub
• Glass into plastic coffee cup 
• Glass into Glass of different sizes
• Paper cup pouring into plastic cups

As you can see, there are endless possibilities when it comes to recording pouring sounds. The key is to capture plenty of variation, try slow, steady pours, medium flows, fast rushes, and even short bursts. These subtle differences can make a big impact in your final mix and give you more flexibility during editing.

Mic placement also plays a major role in shaping the final sound. A close mic position will capture fine textures, like bubbles, drips, or subtle movement, while placing the mic further back gives a more ambient, environmental feel. This is especially useful when recording in natural spaces like streams or rivers. Keep in mind, you don’t need a professional studio or the ideal environment to record great water sounds. As long as you have a container and some creativity, you’re already well on your way.

Try experimenting with different actions, like splashing the water using your hands or various objects, or blowing into the water through a straw to create bubbles with different textures and intensities. This kind of hands-on experimentation is where a lot of the fun, and creativity, happens. 

The team at 344 Audio recently contributed to Call of Duty: Modern Warfare 3, providing a rich collection of water recordings for one of the campaign levels. In the featured clip, you’ll hear a blend of underwater movements, surface transitions, splashes, crashing waves, and rainfall, each element carefully crafted to enhance the immersive atmosphere of the scene.

When working with moving water outdoors, try recording from both upstream and downstream. Upstream recordings tend to be cleaner, capturing water as it approaches the mic, while downstream can add more of the rushing and echoing qualities of flowing water.

Finally, consider layering your recordings. Break the scene down into elements: record isolated drips or pours, a broad ambient “bed” of flowing water, and sharper splashes or interactions separately. Layering gives you far more control in post-production and lets you shape the final sound with more precision and depth.

Experiment with Underwater Actions: Beyond just submerging a microphone (or using a hydrophone), consider interacting with the water to produce diverse sounds. Tapping objects underwater, swirling water with your hands, or blowing bubbles can create a range of textures and tones. These actions can add depth and variety to your recordings.

Be Mindful of Equipment Safety: Water and electronics don't mix well. Always ensure your recording devices are adequately protected. If you're improvising with DIY methods, be aware of the risks involved and test your setup in controlled environments before moving to more challenging locations.

By combining the right equipment with creative techniques, you can capture compelling above water and underwater sounds that enhance your projects. Remember, experimentation is key, and each recording session offers an opportunity to discover new sonic possibilities.

Common Mistakes to Avoid

Even with the best gear and intentions, it’s easy to make a few missteps when learning how to record water, especially if you're just starting out. Being aware of these common pitfalls can save you time and help you capture cleaner, more usable audio.

Getting Too Close Without Protection
As mentioned earlier, but is worth mentioning again, water and electronics don’t mix, so recording too close to the source without splash protection is a big risk. Not only could you damage your microphone, but water droplets can also distort your recordings. Using a windscreen, plastic cover, or even a DIY splash shield can help keep your gear safe while still getting you close enough for detail.

Ignoring the Background
Outdoor water recordings often come with extra baggage, birds chirping, distant traffic, wind, or people talking nearby. These sounds can easily creep into your recordings if you're not paying attention. Always monitor your environment before pressing record, and consider using directional microphones to better isolate your target sound.

Over processing the Audio
It can be tempting to “fix” your recordings in post with heavy EQ, compression, or noise reduction, but too much processing can kill the natural character of the sound. Water has its own dynamics and nuances that can get lost if over-edited. Aim to capture the cleanest possible recording at the source so you don’t have to rely heavily on post-production.

By steering clear of these common mistakes, you’ll get more consistent, professional sounding results, and spend less time troubleshooting and re-recording.

‍

‍Conclusion

Recording water is one of the most unpredictable, and rewarding elements to work with in sound design. Its range of textures, tones, and rhythms makes it endlessly versatile, whether you’re recording a single drop or a roaring ocean wave. The beauty lies in its unpredictability, no two takes will ever sound exactly the same, which opens up a world of creative possibilities.

Don’t be afraid to get hands-on when learning how to record water, experiment with different techniques, and even make a few mistakes along the way, that’s part of the process. With a bit of curiosity and a careful ear, you can capture water in ways that feel fresh, immersive, and uniquely yours.

We hope you found this blog both useful and inspiring. If you're aiming to achieve the kinds of water sounds we've explored, without the time, hassle, or mess of capturing them yourself, consider 344SFX’s Water In Motion. This professionally crafted bundle includes over 13.6GB of high-quality recordings and more than 1,600 individual sound effects, offering an extensive collection of water textures to suit any creative need. Inside, you’ll find splashes, rinses, pours, pops, bubbles, drips, bursts, swirls, emerges, submerges, waves, streams, rivers, you name it. Whether you're designing for film, games, or experimental sound art, Water In Motion delivers a complete toolkit for capturing the dynamic and expressive qualities of water with ease and precision.