Breaking down famous sound effects: techniques and tools behind iconic sounds

Breaking down famous sound effects: techniques and tools behind iconic sounds. Photo of seashells on string, making sound as it blows in the wind.
Credit: Getty Images

The sound of the lightsaber is one of the most iconic effects in cinematic history. Ben Burtt, the sound designer for Star Wars, created this distinctive hum by combining:

  • A film projector motor: The hum was recorded from the motor of an old 35mm projector.
  • A television’s interference sound: A microphone was waved near a TV to capture the crackling buzz of electrical interference.
  • Dynamic movement: Burtt played the combined sounds through a speaker and used a handheld microphone to move around it, mimicking the weapon’s motion.

Creating the mighty roar of the T-Rex in Jurassic Park required blending the calls and growls of real animals. The final mix included:

  • Baby elephant trumpets: This served as the base for the deep, guttural quality of the roar.
  • Alligator growls: To add a ferocious edge.
  • Tiger snarls: For a more primal and terrifying texture.
  • Dog growls and whines: Used for subtle emotional nuances.

Sound designer Gary Rydstrom layered and processed these recordings to craft a roar that was both terrifying and believable.


The Wilhelm scream is a stock sound effect that has become a playful Easter egg in countless films and shows. It originated from the 1951 film Distant Drums, where it was recorded during a scene of a man being attacked by an alligator. The scream was:

  • Performed by actor Sheb Wooley.
  • Later catalogued by Warner Bros. and named after Private Wilhelm, a character who screamed in the 1953 film The Charge at Feather River.
  • Popularised by sound designer Ben Burtt, who included it in Star Wars and inspired its widespread use.

The mechanical transformations in Transformers are a masterclass in layering and detail. Sound designer Erik Aadahl created these effects by combining:

  • Hydraulic sounds: Recorded from real industrial machinery.
  • Metal impacts and scrapes: Captured from various objects like car parts.
  • Animal growls: Used subtly to give the machines a lifelike quality.
  • Synthesised elements: To enhance the futuristic vibe.

These layers were meticulously timed and pitched to match the on-screen movements.


The shrieking violins of the Psycho shower scene are often mistaken for part of the score, but they also serve as a sound effect. Composer Bernard Herrmann used:

  • String instruments played with extreme techniques: Violinists attacked their strings with the bow at unconventional angles to create a stabbing, high-pitched sound.
  • Repetition: The frantic rhythm heightened the tension and horror of the scene.

Though it’s technically music, the effect is so closely tied to the action that it functions as a sound effect.


The lovable droid R2-D2 communicates entirely through electronic sounds. Ben Burtt crafted its voice by:

  • Using a synthesiser: For the electronic tonalities.
  • Blending human vocalisations: Burtt added his own vocalisations and manipulated them to create expressive and emotive sounds.
  • Layering: The combination of machine and human elements gave R2-D2 a relatable personality.

The creation of iconic sound effects often involves a mix of traditional techniques and cutting-edge tools. Common tools include:

  • Field recorders: To capture real-world sounds.
  • Digital audio workstations (DAWs): Such as Pro Tools or Logic Pro, for editing and layering.
  • Synthesisers: For generating unique tones and effects.
  • Foley stages: Where sound artists physically recreate sounds in sync with the visuals.
  • Plugins and processors: To add effects like reverb, pitch shifting, or time stretching.

The magic of iconic sound effects lies in the creativity and ingenuity of sound designers, who transform ordinary or unexpected sources into unforgettable auditory experiences. By blending real-world recordings, synthesis, and innovative techniques, these artists breathe life into the worlds we see on screen.

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