Download Zelda Sound Effects NEW!

New sound additions are on their way. Here's what to expect:More DS / 3DS voices!A Wind Waker playthrough!Several Twilight Princess essentials!More Majora's Mask?Who knows!

Joanna J Philip PhotographyWelcome to the world's largest collection of sound effects from the Legend of Zelda series!All the memorable swords, shouts, and tunes from 30 years of memorable games are available here for free!Newly-added sounds are marked with *red asterisks*.

Updated sounds are marked with *yellow asterisks*.

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Even trying to click on that link gets my browser to say that the connection is not secure and the site might be trying to steal my secure data like passwords. While I'd like to have something like this myself, I don't want it that badly. I know that you're against those corporate storage sites, ZoriaRPG; but at least they don't create warnings like this.

The other site mentioned earlier is the one I generally use now to find sound effects I don't have, though it does have some strange omissions.

Might I suggest that you either place it on a different site, or offer to send it to members who want it via a more secure medium; like Skype?

Download Zelda Sound Effects

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Koji Kondo (Japanese: , Hepburn: Kond Kji, born August 13, 1961) is a Japanese music composer, pianist, and sound director for the video game company Nintendo. He is best known for his many contributions to the Super Mario and The Legend of Zelda series of video games, among others produced by the company. Kondo was hired by Nintendo in 1984, becoming the first person hired by them to specialize in video game music. His work in the Mario and Zelda series have been cited as the most memorable in video games, such as the Super Mario Bros. overworld theme.

With a love of arcade video games such as Space Invaders and the early Donkey Kong series, he said video games were the only place where he could find the kind of sound creation that he was looking for. He gained experience in composing, arranging pieces and computer programming through using the piano, and a computer to program music into the Famicom using Famicom BASIC, for which Kondo wrote part of the instruction manual in which he demonstrates how to program Japanese popular music into the Famicom using BASIC programming.[5]

Kondo's work on The Legend of Zelda scores has also become highly recognized. He produced four main pieces of background music for the first installment of the series; the overworld theme has become comparable in popularity with the Super Mario Bros. main theme. After the success of The Legend of Zelda, he provided the score for two Japanese-exclusive games, The Mysterious Murasame Castle (1986) and Shin Onigashima (1987). He created the soundtrack to Yume Kj: Doki Doki Panic (1987),[2] which was later rebranded outside Japan as Super Mario Bros. 2 in 1988.[8][9]

Kondo returned to the Super Mario series to produce the scores to Super Mario Bros. 3 (1988) and the SNES launch title Super Mario World (1990). Koichi Sugiyama directed a jazz arrangement album of Super Mario World's music and oversaw its performance at the first Orchestral Game Musical Concert in 1991. After finishing the soundtrack to Super Mario World, Kondo was in charge of the sound programming for Pilotwings (1990), while also composing the "Helicopter Theme" for it, and created the sound effects for Star Fox (1993). In 1995, he composed for the sequel to Super Mario World, Yoshi's Island.[2] Until the early 2000s, Kondo would usually write all compositions by himself on a project, with The Legend of Zelda: Ocarina of Time's being the last one Kondo worked on alone.[10] Since then, he has been collaborating with other staff members at Nintendo, advising and supervising music created by others, as well as providing additional compositions for games, including Super Mario Galaxy, The Legend of Zelda: Spirit Tracks, The Legend of Zelda: Skyward Sword and Super Mario 3D World.[11][12][13] He also served as the sound director and lead composer of Super Mario Maker and its sequel, Super Mario Maker 2.[14][15][16] He has also worked alongside Brian Tyler to compose for The Super Mario Bros. Movie.[17]

From the original Legend of Zelda, to Ocarina of Time, to Breathe of the Wild, Link's adventures have been celebrated for their use of music. Few games sound better in their respective generations than The Legend of Zelda's scores, but these beautiful tracks only tell half the story. Rarely scrutinized by itself, sound design - specifically that pertaining to rewarding feedback or mechanical cues - is a crucial aspect of establishing satisfying game loops. In many respects, sound effects are the unsung heroes of game design, and that is especially true for Zelda.

While the technology behind Zelda's soundscapes has evolved by leaps and bounds, Nintendo has maintained a pleasing sense of continuity that unifies Link's varied chronicles across Zelda games. The swoosh of a sword (later augmented by Link's equally recognizable cries), the clink of rupees, the "puzzle solved" tune, and the celebratory "key item discovered" ditty immediately let players know that they're in a Zelda game. Hearing these familiar noises is not only intrinsically pleasing; it affords the series a sense of continuity while reinventing itself with every installment.

In terms of nostalgia, the original Zelda's "puzzle solved" sound effect is one of the most iconic in all video gaming. Long before designers were consciously concerned with things like reward loops and dopamine cycles, the original Legend of Zelda's sound designer Koji Kondo came up with a way to provide players valuable contextual feedback, while also making them feel like heroes. The quick tune that plays when Link solves a puzzle or uncovers a secret room has become synonymous with a sense of discovery and triumph.

Shuffling feet, monster growls, and other ambient or reactive noises make a game world feel more like the real one, and designers have chased that goal since early on. Different genres rely more heavily on ambient and reactive sound than others. Atmospheric noise is especially important for horror titles, but Zelda's "puzzle solved" tune is truly remarkable because it gives sound to an idea. It is a sort of mechanical synesthesia without direct analog in the real world; a magical inherent quality that only video games can possess.

The original Legend of Zelda on NES made all its noises using the Ricoh 2A03 chip. Though the Ricoh has five sound channels, earlier NES cartridges like the first Zelda only made use of four channels due to technical constraints. Comparing the Ricoh to the PS5's Tempest Engine - a dedicated audio chip that is capable of producing literally hundreds of distinct three-dimensional sounds at once - is like comparing the paintings on a cave wall to a gallery in the Louvre. Given this huge gulf in complexity, it is easy to imagine a world where Nintendo decided to start from scratch with each Zelda installment to leverage new technologies.

Fortunately, Nintendo recognized the value of continuity for establishing a series' identity. Zelda's puzzle solved sound effect is still being used nearly forty years after the original game. Since then, sounds have steadily evolved to become more elaborate and crisp, and new "conceptual" sound effects - like the unique tunes that plays when Link finds rupees - form the core of the game's sound design. This distinct identity may explain why the Zelda series has gone on to inspire a genre of Zelda-like spiritual successors.

Silver Star Chess (Agetec, Inc., 1-2 players, Rated E forEveryone - Mild Suggestive Themes, 500 Wii Points): SilverStar Chess has two modes: 1-Player and 2-Player. 1-Player modeallows you to play a chess match against the computer opponent.2-Player mode allows you to play against another person. In1-Player mode, you can select one of five different computeropponents, as well as turn the background music off, adjust soundeffects and access in-game help features. Also, during the match,you can redo your last move, save the game at any point or resignfrom the game. After the match has ended, you can review each movemade during the match. While reviewing the match in this way, youcan resume that match at any point.

David: If you wanted to have like a three-note chord, you would need three human beings [Human voices singing] to do that because we can each only produce one voice. It's kind of the same with the sound chip. They had a set number of voices that could produce sounds. I'll use the Commodore 64 as an example. It had three voices so you can only produce realistically three notes simultaneously. [Ghosts 'n' Goblins Music]

David: Other systems had one voice and other systems had many more than that. The tunes were often more catchy back then, more memorable. I think because the sounds were a little bit more primitive, the musicians had to come up with better more memorable and catchy tunes [Super Mario Brothers 2 - Main Theme Music] where today, they have so much technology that they could produce cool sounding music but it's not necessarily memorable.

The limitations of early video game music helped inspire some the most memorable sounds in video game history. The tool set was more limited, so composers had to use them in a more unique ways. The next challenge was to get the sounds to actually play in the game. Find how they did it, after the break.

David: It's actually synthesizing the notes every single time. What was really interesting about that is you could go from one machine to another and it didn't always sound exactly the same. With the Commodore 64, they had what they call the seed chip that produced the music. Different revisions of that chip, it came out every few years, they changed things about it. If you were to take two machines running the exact same game, you could actually hear that the sound was a little bit different on each machine. 2351a5e196