Spotlight Series: Making Listeners Uncomfortable Without Understanding Why – Interview with Alessandro Romeo of HorrorSound.org

Recently, I received an interesting email in my inbox from Alessandro Romeo. You may know Alessanrdo from his work on the SampleTraxx series of sound libraries. SampleTraxx has nearly 20 libraries linked to from here on the site. That’s not all he’s been doing, though. He recently released a new label of horror sound effects: HorrorSound.org.

I spoke briefly with Romeo about why he created Horrorsound.org, his new collections, and why he is drawn to creating horror sounds. Let’s learn more.

Can you tell readers a bit about HorrorSound.org? What does it offer sound editors and designers?

HorrorSound.org is a new specialised label offering high-quality sample packs for horror sound designers, composers and film editors.

It provides unique collections of unsettling sound effects ranging from obscure vocals to signature metallic scrapes and creepy string instruments.

The idea is to offer great sounds at great prices. Well organised collections ready help build immersive yet terrifying soundscapes.

You have already been publishing sound effects on SampleTraxx for many years. What made you want to start a new sound library label?

Starting HorrorSound.org is about creating a dedicated platform for a very specific niche.

For the past nine years, I’ve been publishing sound effects with SampleTraxx for my customers. This journey has greatly helped me develop a deep understanding of my craft.

In parallel, I’ve collaborated with various trailer publishers, designing sound effects for movie trailer projects and TV spots. These experiences have shaped my approach, enabling me to create impactful sounds for a wide range of media.

With HorrorSound.org, I want to create a new space that horror sound professionals turn to when planning their projects.

You have mentioned in a blog post that creating horror sounds resonates with you. Why?

I have always been fascinated by horror movie soundtracks and sound design. It is something that truly resonates with me.

I enjoy exploring the psychological aspects of non-diegetic sound and the fact that it makes listeners uncomfortable without them fully understanding why.

Sound plays a unique role in horror, because it can manipulate emotions and build tension in ways that visuals alone cannot. It has the power to creep into your mind, bypassing logic and triggering instinctive reactions. That ability to manipulate atmosphere and mood on such a visceral level is what draws me to it.

Additionally, horror sound design isn’t just about mimicking real-world sounds but about transforming everyday noises into something familiar yet unsettling. This transformation is the real hook that engages the listener, keeping them locked to the screen.

For me, horror sound design is an experimental playground where imagination can run wild.

Right now you offer 4 libraries on HorrorSound.org. Can you tell us briefly what’s special about each one?

Opera Nera is a collection of terrifying horror vocal sound effects, recorded with male and female professional theater actors. It features 140 sounds half raw and half designed of demonic and witch vocalisations, featuring a variety of cries, sobbing, satanic and witch laughs, mad vocals and breaths, ghostly sound effects and more.

This is a great addition to elevate horror scenes into something more grand and dramatic, adding a gothic and supernatural edge.

Circus, featuring 180+ mangled evil string sound effects and loops. It is packed with screeches, high-tension tremolo, heavy jeté strokes, finger patterns, chaotic string elements and accents.

Desert Trash is an experimental collection of 170 signature sounds. It features raw, gritty and unpolished sonic elements, broken or decayed sounds to be used in post-apocalyptic horror or sci-fi projects, to add a sense of desolation and danger.

Horror Metals is filled with 180+ signature metallic sounds. With this sample pack I wanted to explore the sonic beauty and elegance hidden in metals. This collection offers a rich sound palette to produce unconventional sonic results with ease.

Creating horror sound libraries is much different than other sound library bundles – often you need to embed mood and emotion. As a sound designer, how do you embed mood and emotion in your tracks?

To create an immersive storytelling I think that simplicity is key. I always try to not over-design my sounds to ensure they sit better in the mix.

Minimalistic sonic elements like an eerie sting or a simple distant sound can be incredibly effective in building tension because they leave room for the listener’s imagination.

I use key elements like tone and dissonance, pacing and silence, dynamics shifts and unpredictability.

What’s next for HorrorSound.org?

I have a long list of sample packs to release in the next few months.

I’m collaborating with different sound designers from around the globe to expand my catalog. We are working on hybrid and experimental sound design blending organic, acoustic and synthesized sounds.

As horror media continues to evolve, sound libraries must offer greater diversity by exploring a wider emotional range, from psychological suspense to gothic terror and sub-genres like supernatural and sci-fi horror.

I’m doing my best to meet the growing demand for nuanced, dynamic soundscapes that match the unique tone of each project.

Listen to HorrorSound