Our new sounds for this month are tied in with a common horror trope: trapping the demon in a circle of enchanted flame. The binding ceremony usually involves drawing symbols on the floor in blood or salt, and setting the circle on fire once the demon steps inside.
Our Demon Fire soundpack comes in three varieties; the differentiating factor is the ignition source for the flame. ‘Cause, let’s face it – you don’t want your players asking, “hey, if we’re in a medieval setting, why am I using a Zippo to light this fire?” Or alternately, in a modern game, “where the heck did I get a torch?”
And in addition, each download comes with a ten-minute loop of magic flame with no ignition sound, so if you just want continuous fire, you can do that too at no extra charge!
Of course, these fire sounds don’t have to be used exclusively to depict demon traps. Really, you could use them for just about anything your players feel like setting on fire. And if your players are like ours, that’s a lot of things!
The daemon has walked right into your carefully-laid trap; directly into the center of the circle of blood sigils on the stone floor. In the dim light of this dank dungeon, it was easy to conceal it with some hastily-arranged dirt and pieces of rat dung. You touch your torch to the edge of the circle, and the floor erupts in a magical flame.
Now, daemon, we will talk.
This effect is the sound of a torch igniting a magic flame that burns for ten minutes.
You have the demon right where you want it. It’s just walked right into the center of the circle of blood sigils you painted on the floor. Before it knows what’s happening, you light a stick match and touch it to the blood. The circle erupts in a magical flame that spreads out to both sides and surrounds the demon in a second.
Shall we begin our conversation, hellspawn?
This effect is the sound of a wooden stick match igniting a magic flame that burns for ten minutes.
You’ve got the demon right where you want him. The smug sonofabitch just walked right into the center of the circle of blood sigils you hid under the throw rug. You smile, just a little, and spark up the chrome lighter in your hand. You throw it to the floor, and the circle erupts in a magical flame. Now old blackeyes there is trapped until you say so.
Before I gank you, you’re gonna spill, buttwipe.
This effect is the sound of a modern lighter igniting a magic flame that burns for ten minutes.
Demon Flame Loop
Now that the demon is trapped within the blood circle, the flame will continue to burn and he won’t be able to leave. This ten-minute loop of magic demon fire will allow you to question him all you like.
You’ve crafted your universe and created the PCs. Everything is in place to begin your epic RPG Campaign for galactic domination. All that’s left is to add that final element: sound. Toxic Bag’s Science Fiction Toolkit gives you the audio building blocks to help create worlds that, before now, the players had only imagined. Designed for use with any RPG system, the toolkit will help make your sci-fi games better.
Over 45 minutes of Sci-Fi Sounds!
Sci-Fi Battle *
Jump to Lightspeed ¥
Time Machine Interior (10 minute ambience) ¥
Self-Destruct Sequence ¥
Cyberspace (10 minute ambience) ¥
Starship Bridge (10 minute ambience) †
Star Cruiser Rumble (10 minute ambience) †
Red Alert (6 minute effect) †
GM Soundpack: Blasters & Deflector Shields (click for description)
* Previously available on the Battles Collection
¥ Previously available on the Strange Places Collection – remastered for this set
† New Sound
We’re pleased to announce that version 2.3 of our Game Masters Collection app for the iPad is now available at the Apple Store. The new version includes in-app purchase access to several of our recent soundpacks, including:
Eldritch Horror: Cult Ceremonies is a collection of 9 different mystical cult ceremonies. Now you can let your players hear that pesky cult eagerly summoning their icky dark lord to wreak havoc on an unsuspecting world.
Fantasy: Dragons: a collection of 20 growls, hisses, roars and breath attacks. Now you can let your players hear one of the most iconic creatures of the fantasy genre!
Fantasy: Traps: a collection of eleven sinister traps for you to install into you perilous fantasy campaigns.
Horror #2 – EVP: Electronic Voice Phenomena. These mysterious recordings are believed by some to represent the voices of the dead. Now Toxic Bag introduces a collection of creepy EVP phrases for you to use in your modern horror game.
Sci-Fi: Blasters & Deflector Shields: a collection of 16 energy weapons and shields for you to equip your party as they enter your Galactic Sci-Fi Operas.
Changes and fixes –
Optimized for iOS 7.
Changed the iPhone main view to a tableview menu.
Fixed scrubber to resize properly after rotating.
Resized main tableview icons to line up the text.
Cleaned up the startup screens.
Cleaned up actions when app goes into background.
Added a microphone access request for iOS 7 devices.
The Game Masters app is a free download; additional sounds are available via in-app purchase.
Our Free Sound for April is a Matter Transporter that sounds like it came from one of those spaceships we saw on TV in the 1950s and 60s. If you’re playing a retro sci-fi game, this might be the thing for you!
The Matter Transporter. A quick flash of energy into which a person vanishes, to (hopefully) appear elsewhere in a fraction of a second. Invented in the mid-twentieth century on Earth to avoid having to film costly spaceship landing sequences, it quickly became a staple of televised science fiction from Star Trek to Doctor Who. This month’s Free Sound is not a precise recreation of either the Enterprise’s transporter or the Trans-Mat of Doctor Who fame, but rather calls to mind the early electronic sound techniques of the 1950s and 60s. If your game has a whimsical element to it, or if it’s set in a “Forbidden Planet”-type future, this sound will definitely come in handy!
This sound can also be used for:
super-agile battle robots that can move faster than the eye can see
magic spells cast by cartoon wizards
A little while ago I posted a few thoughts about using phone rings in theatre sound design, and I posed some questions about the nature of ring tones, and how to communicate to the audience that a musical ringtone was actually a phone ringing and not just some song playing on a radio somewhere.
Here’s what I said at the time:
However, there’s a further issue in that most pop-song ringtones these days are mp3 snippets of the actual recording. This is a dicey thing when you’re dealing with diegetic sounds and scoring, because if the audience hears a short piece of music in a play or film, they’re not going to automatically think “telephone.” They might first think “radio” or “soundtrack.” You could make sure the song is filtered and sounds like a low-quality mp3 through a tiny speaker, but it still may not communicate “telephone” as quickly and directly as the electronic chirps.
Since then I’ve worked on a couple more shows that required celphone rings (including a production of Hamlet in which Ophelia sends and receives texts throughout the show), and I found a simple and –on reflection– pretty obvious solution to the issue. I recorded the distinctive brr-brr sound of a celphone vibrating, added that to the sound of the ringtone music, and voila. No question what that sound is, to a contemporary audience.
So simple it’s silly. Funny how the obvious solutions can escape us sometimes.
Our newest sound collection is Zombie Apocalypse Volume Three: The City. Two six-minute background ambiences set in a city that has become infested with the walking dead. Or the living dead. The ambulatory-and-kinda-bitey dead. Whatever you want to call them. They’re the slow shambly ones.
“Our whole perimeter is collapsing. Those things are everywhere!”
The dead are returning to life and attacking the living. The military has responded and now major cities have become battlefields.
Can you survive in this nightmare world?
Zombie Apocalypse Volume Three includes two six-minute scenes of zombie terror.
Track One: The city has become a maelstrom of combat: the gunfire and explosions, the armored vehicles and airstrikes – and everywhere, the dead.
Track Two: The living have abandoned the now devastated city. It now belongs to the dead.
You’ve made a break for it. You and your buddy finally decided it wasn’t safe to stay at the pub any longer, and it was time to make a run for the car. You sprint across the parking lot, dropping a few of the walking dead with your last bullets. Finally you reach the relative safety of your car.
Say…you didn’t leave the headlights on, did you?