How To Make A Sample Pack / Sound Library

How To Make A Sample Pack / Sound Library

If you want to make a sound effects library or sample pack but don’t really know how to go about doing it, this tutorial will show you my
process from start to finish. I’ll be going over how to make and record
sounds at the industry standard and adding metadata to make it easier
to search for your sounds in a DAW. After that, packaging, where I’ll talk about
making cover art, a demo track, and other files you may need to include in your library. Finally, I’ll point out some great websites
where you can sell your stuff, so stick around. [how to make a sample pack in FL Studio 20] Hey everyone, Jake from Transverse Audio here. To dive right into it, there are some main things you should set up first to make a high-quality sound library. First, you may want a large dB (or decibel)
meter to see the precise levels of each sound or sample you make. This will help things be uniform across the
entire library and if you set it to around -80dB, you’ll have a much clearer understanding
of where to make your edits at the end of a sound. Then you’ll need something to record with
and add fade points to prevent pops and clicks. Personally, I love to use Edison for this
as it makes the whole process a lot easier. When it comes to a recording plugin, I like
to have multiple instances of it so I can hold variations that I’m not sure about. So, if I recorded 12 versions of a sound but
can only keep 6, I want to be able to move on if I can’t decide. The last few things you might want are an
EQ to roll off anything below 20Hz to give your sounds clarity (as anything below that
isn’t really heard), a Limiter to prevent clipping even though you should typically aim for a level around -1 dB but I’ll go anywhere between -2 and -4 while just keeping it turned off until I need it. Lastly, you might want a notebook or another
text editor inside your project so you can keep track of ideas and remind yourself
of the standards you have for the library. Then, you’ll need to set up your DAW to work in the right quality depending on what you’re making. To do this, go into the options or preferences
menu and then to the audio settings. For sound effects libraries used in media
like games or film, it’s kind of the standard to use a sample rate of 96kHz and a resampling quality (or bit rate) of 24-point sinc (or 24-bit). Anything higher than that is just not worth
it for the amount of space it takes and the quality past that is marginal at best. I don’t even think it’s something that can
be heard. Now for the fun part, let’s make some sounds. Keep in mind that a lot of plugins legally
prohibit you from using their presets in sound libraries. That means you’re not allowed to record them
as is and put them in your pack, even if you don’t charge money for them. If you really don’t know much about making
your own sounds, you can learn a lot about synthesis by deconstructing sounds and essentially
“reverse designing” a patch. But don’t reverse engineer the plugin, cause
that’s illegal too. Just take away effects or drop parameters
off one at a time, observing how it changes the sound. This isn’t the video for a full breakdown
of making a sound effect, so I’ll just skim over one sound
so you can get an idea of how it’s done. So the effect I made here largely has to do
with the chorus effect and automating its parameters. And with it turned on. SFX Demo Down to its basics, this sound is made up
of white noise, a sine wave
(which is affected by the pitch controlled by the LFO), and lastly
a square or pulse wave. All together and with the pitch back to it’s
setting, it sounds like this. Without using the LFO and pitch, it sounds
a lot different. I’m using a randomized LFO that has a maxed
out gain and offset so it can give it a gradual change. With it controlling the pitch, I’m able to
keep the high pitched metallic sound from the white noise while dropping the sine and
square wave down to a really low level. This combination acts kind of like a phaser
but controls the frequencies in a different way. The pitch is automated so it can give the
sound effect a thump at the end, making it sound more like a flux in space-time. Now, what’s really going on in the chorus
is I have the depth set to about half way, this is what’s giving it that shreaking metal sound. The feedback is pretty much controlling how
much of the signal is fed back through the effect again, kind of amplifying the sound. The rate being automated isn’t doing a whole
lot but it does make the ending more dynamic as it transitions the sound a bit. But, at it’s lowest setting, it does have
a huge impact on the sound. Now, the chorus delay being automated the
way it is, lets the sound have a progressive change in pitch at the beginning while settling
it down near the end to give the sound more of an impact. [example of the sound effect] With the setup and sounds ready, you can start
to record what you’ve made. First, enable loop markers so it’s easier
to deal with multiple variations. Disabling selection snapping will let you
edit the exact sections you want. Then right-click on the info bar here and
make sure it’s recording at 96kHz and since it can’t record in 24-bit
for some reason, select 32-bit. This is because you can convert something
from a higher to lower quality while keeping it at the best it can be. But going from a lower bit or sample rate
up won’t change the quality at all and will probably just make the file bigger. The more you and the customer have to work
with the better so set up loop points in the sequencer or piano roll to record the tail
of the sound too. Once you’ve recorded the sound, it’s good
to keep the file short and without much silence. What I mean by that is you should remove the
silence before and after the sound effect to keep the file size low but don’t make it
abruptly end. You should have it naturally fade out. Once recorded, I like to make it fade in and
out very quickly to make sure it doesn’t click or pop when the sound starts or finishes. I try to keep this at 0.1 seconds or less,
depending on how it affects the sound. If you’re going to be making drones or ambiances,
the standard length is set at around 30-60 seconds. Although you can get away with a shorter
sound at around 15-30 seconds if you make them seamlessly loop. If you want to learn about seamless looping,
check out the card to the top right. I made a video about how to do it. Now, for sounds other than that, it’s good
to get a few variations of each sound so things don’t get too repetitive,
like footsteps for example. There’s no real standard for this, but anything
between 3 and 6 should be great. This could be with slightly different parameters
on your effects or synths. It really comes down to the sound and its
typical use case in a game or film. You can either keep them all separate or merge
the variations into the same file with a small space between each Finally, name your sound
effect by right-clicking on the info bar. Then make sure you don’t have anything selected
by double-clicking on the waveform and then click and hold the drag button and drag your
sound effect over to your sound library’s folder (which you’ll have to make first by the way). Now, if you didn’t get a chance to set up the proper levels on sounds you’ve already exported, there is a fix. Load up all your sounds into a project on
their own track in the playlist and in the mixer. From there you can adjust the decibel level
to the same amount to keep things consistent. Again, you don’t want to slam everything to 0dB. Instead, keep it around -2 and -4db. You can also throw in some other effects like
EQ and compression on individual tracks to fix up some sounds that are a bit off. Just keep in mind that it’s a lot more efficient
for you to fix something than it would be to leave it for every customer to fix it on their own. Not to mention, it’s better for your brand’s reputation. If you end up doing it this way, you’ll need
to export each track individually. If you’re using FL Studio, you can simply
right click on the playlist track, then down to “consolidate this track”,
and then “from track start”. This will automatically select the exact length
of the individual track, regardless of how long or short others are. You will have to rename each file if you do it this way and verify that the resampling is still at 24-bit. As the final step to making
the actual content in a sound library, it’s great to add metadata to each sound to make it much easier for whoever
uses the pack. There’s expensive software like Soundminer or FREE software like Soundly
that you can use to add this in. The most important field you should be using
is the description to describe what the sound is – usually done with keywords separated
by commas so it can be easily searched. This could be the genre, the kind of sound
such as “pulse” or “sweep”, and even things like “music” or “loop”. “Originator” is a helpful one to market your
brand so people can find the rest of your content and I like to use “note” to highlight
my website and social media handle but can be used for anything. And then there’s “category” to explain what
the sound is with an umbrella term such as ambiance, game audio, or even the name of
the sound library or sample pack. Now we can move on to the packaging of the
library and this part is just as important. First I’ll go over making the cover art, then
a demo track, and finally some extra files to add into the pack. Alright, if you’re not that artistic, you might want to pay someone to make your library artwork on a site like Fiverr if you want it cheap. If you’re feeling artistic and want to do
it yourself (which is probably easier), you can start by getting some artwork for free
by going to a royalty-free stock photo site such as Unsplash or Pixabay. Once you find a CCO – preferably non-attribution photo – you can load it into a free editor such as Gimp. Cover art is typically 600×600 pixels so set
it up for that and then move in some rulers to help keep things on point. If you want a quick and easy way instead, there’s a website called Canva that comes with templates. Just pick the CD cover and either use what
they have or drag in a photo that you found. From there it’s just a matter of putting in
the text if you want it. Time for the demo track to highlight what
your pack has. The length of this track is going to be relative
to the amount of sounds that are in your library – And, how long each sound is. And should be order along the lines of best to worst, all while showing your best work in it. Basically, you’re not trying to showcase
every single sound included, just enough to get your point across
and show its capabilities. If you’re not a composer you can go and pick
up an ambient track from a stock music site like Audio Jungle or Audio Network. Just remember to read the terms and conditions,
making sure you can use it in this way. If you’re also a composer, making your own
soundtrack is more than ideal. Keep things simple as to not take away attention
from the sounds you’re trying to sell (or give away for free, depending on how you price it). Make sure it’s consistent with the
theme of the pack too. To wrap it all up, put everything in the same folder –
and you don’t have to put the demo track in there too, you probably shouldn’t anyway. It is good to include any legal information
into the library as a simple text document explaining the EULA (or End User License Agreement). You are, after all, selling the license to
legally use your sounds. You can name this file README and even put
your business information above the agreement to let people know where they can
find more of your stuff. Finally, it’s time to put your sound library
or sample pack up for sale. You can either sell it on your own website
or submit it to a retailer that sells libraries from many brands. Some good website to look into are A Sound
Effect (which sells full libraries), The Envato Market or AudioJungle,
typically for individual files, and game engine asset stores like Unity and Unreal (where you can stock music too). You can submit your library to be sold on
as many websites as you want and this can be anytime before or after
you’ve launched your product. These sites will, however, take a portion
of revenue made from each sale they make. It’s kind of like a commission or royalty that only
applies to the copies sold on their website. So, you could sell it on your own website
too and keep 100% of the revenue but you’ll probably have to pay some percentage to a
payment service like Stripe or PayPal. Both ways to sell your sound effects have
their pros and cons. If you sell it through a retailer, you don’t
keep as much from each sale but you can get more sales since they may have a lot more traffic and a larger audience that can be completely different from the one you have. Even though it may seem that all of the work is done, marketing your product is a very important step to take. This could be as simple as talking about it
and bringing it up in conservation, or as far as running ad’s
and promoting it on social media. Either way, it’s good to go into this
with a strategy. Remember, this is just my way of doing it. Ask yourself if there’s a better way depending
on the software you use. Give this video a like if you enjoyed it and
subscribe for more content like this. As always, thanks for watching.
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  1. Hey, thanks for watching! If you're making a sound library for music producers (a sample pack) you can probably get away with simply using 44.1 or 48kHz to make your sounds. What DAW is the best for making sound libraries (makes it the easiest)? Let me know if you have any questions or just say hello!

  2. Cool video. Thumbs up man. Also can you make a video on how to independently release tracks on Apple Music and Beatport with/without signing any record label?

  3. 24-point sinc (resampling quality) is not the same as 24 bit (sample bit depth).

    Resampling quality controls how the DAW behaves when it needs to generate new sample-points in between those that already exist in a sound file. This needs to happen when you change the sample rate of a sound, or change its pitch and/or playback rate. (N)-point sinc means that, when it needs to generate a new sample-point, it calculates the position of the new point based on the (N) existing points around it. More points means better estimates of the correct sample-point positions, and therefore less aliasing, but the amount of processing power required increases proportionally with N.

    Bit-depth controls how many digits are used when storing the positions of the samples in the output file. Sample positions are numbers. 16 bits means each number is stored to about 4 to 5 decimal places. 24 bits means each number is stored to about 7 decimal places. More bits means less rounding error, which corresponds to less noise.

  4. hey, i have a question, if I wanted to give away a free pack, can I do that too? I am just starting off, and I want to start of by giving my stuff away for free at small amounts, and then slowly charging more, and making bigger packs. any advice?

  5. 2:23
    How did you highlight text with yellow color ?
    I'm asking so I can reverse design your video haha ๐Ÿ˜€
    Jk I really love the clarity of your explanations and I'm just interested how its done.


  6. How to make a mythological creature sound effects for fantasy movies and video game design such a a Chimera for a example?

  7. Excellent mate. No fat in this video. Except for maybe the explanation on how you designed the sound. Not really relevant to the video but still great content

  8. Hello, Jake! How are you?

    I've already seen this video, but I came back to ask you if there is any problem by making a FX sound for my own sound library with an empty present… Like… When you open a Plugin, for example, a synthesizer one, you have the possibility to choose between many presets made by the developer. However, you can't use those presents most of the times, because of copyright situations and other stuff related to it. Although, there are empty presents, patches, you name it, where it doens't have any defenitions inside them… Like… "USER – Init".

    So, the question is: "Can we use those to make our sound libraries?". I mean… I can't see any other way to make them… (Feeling dumb right now… XD).

    Anyways… I hope you have an splendid week! It's allways nice to talk with you! See you next time!

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