This product is a collection of 252 sound effect tracks of computer keyboard typing. Four different kinds of computer keyboards were thoroughly recorded – and alongside designed effects and motion graphics print-out tracks in various tempo – this sound effects library is both compact and comprehensive. Read on to learn how we made it.
252 files // 384 unique variations // 42 min length
96kHz, 24bit, Wave Files
Neumann TLM103D x 2, Neumann KM184D x 2, Neumann KM183D x 1
Minimal processing
UCS Ready with compliant Soundminer metadata-tagging
Computer keyboard typing is a relatively silent activity. This means that even under ideal recording conditions numerous challenges needs to be addressed.
Noise levels The main challenge when recording something as silent as keyboard typing is keeping the technical noise levels as low as possible for all effects recorded.
Recording distance and choice of microphones In order to achieve low noise levels, it’d be tempting to simply record by putting the microphones extremely close to the audio source (the computer keyboard). This however, doesn’t sound natural. Finding the sweet-spot between recording distance and noise levels is essential for creating a high quality sound effects of keyboard typing.
Keyboard build quality and room/material resonances In order to create an extensive sound effects library covering lots of different computer keyboard typing, the choice of which models to record was important. Also, throughout the recording process we learned that build quality and physical resonance issues affected both consistency and intonation.
THE KEYBOARDS
Enter button keystrokes from the four kinds of computer keyboardsrecorded
There is a vast amount of computer keyboards models available. The selection we made is based on different construction types, each creating its own distinctive sound. With these different models recorded, we’d be covering the corner stones of computer keyboards both technically and sound wise.
Keyboard with Mechanical Blue Switches (QPAD MK-80) The mechanical keyboard construction is historically the most common kind. Each key contains its own complete switch composed of a housing, a spring and a stem (and sometimes additional parts). This kind of mechanical construction is still used in contemporary desktop keyboards, and are especially popular within the gaming community since they are more tactile and sturdy than other modern keyboard types. In addition, this model allow for modification and personal configuring. The blue switches (color labeling created by keyboard manufacturer Cherry) refers to a certain kind of tactile switch, which ensures an extra resistance is added when the key is pressed down. This keyboard construction makes the loudest and “clickiest” sound of the ones recorded for this sound library.
Keyboard with Mechanical Red Switches (HyperX Alloy FPS) As opposed to the blue mechanical switches, the red switches are linear, with no additional resistance when being pressed. The red switches keyboards are less loud than those with blue switches.
One of the computer keyboards recorded -a HyperX Alloy FPS with red mechanical switches
Rubber Dome over Membrane Keyboard: (Logitech K120) The “rubber dome over membrane” keyboard is the most common construction type for contemporary keyboards. These utilize rubber dome in conjunction with the membrane construction, resulting in a robust and yet compact design. Since the housing and travel distance for each key is flatter/smaller, the sound is more subtle and smoother.
Tablet/Laptop Keyboard: (Microsoft Surface Type Cover 2) Most modern tablet (and laptop) keyboards utilize a compact version of the rubber dome over membrane design, where scissor switches are used. These switches allow for stable mechanical motion in a low profile keyboard design. Most modern Apple laptops utilize scissor switches. For sound recording purposes a tablet keyboard is better suited since it is possible to record “stand-alone”. (A laptop keyboard is integrated in the computer housing, which adds an extra resonance to the keystrokes. This is not optimal from a sound recording point of view.) The tablet recording presented the biggest challenges regarding noise levels, since the keystrokes are so silent.
THE RECORDING PROCESS
– Recording equipment
The microphones used were 2 x Neumann TLM103D, and 2 x Neumann KM184D and 1x KM183D. These are completely digital microphones, where the sound waves entering the microphone are instantly converted to digital data, without any analog amplifying in the microphone itself. The TLM103D is a microphone of the type large-diaphragm cardioid condenser, while the KM microphones are of the type small-diaphragm cardioid. Both these microphone models have very low own noise levels and are hence well suited for the low volume recording of computer keyboard typing. The TLM103D’s have among the lowest built-in noise levels of any microphone on the market. Hence we used them to record the very silent membrane and tablet keyboards.
– Recording Settings
Everything was recorded in 96KHz 24bit waveforms. The standard for audio in video is 48KHz. The 96KHz recording allows for pitching the sounds down to corresponding 50% of speed and still be within the 48KHz sample rate, with all data within the human hearing range preserved. This can come in handy when sound designing for slow-motion action, where the use of pitched-down versions of sound effects to match the action is common practice.
All recordings have been done in stereo. More precisely in AB-stereo with 40 cm (1,3 ft.) distance between the microphones. AB stereo also ensures the optional use of perfect mono. This is easily achieved by just using only one of the two channels
– Recording methodology
Recording distance: As mentioned above in the challenges section – finding the optimal recording distance is a balance between making the keyboard typing sounding natural, and keeping the noise at acceptable levels. This balance is also affected by the choice of microphones. Initial tests using an omni microphone (Neumann KM183D) extremely close to the keyboards rendered a result far too dynamic. Cardioid mics (Neumann TLM103D, and KM184D) from the same very close recording distance sounded even less natural. In addition, when using cardioid/directional mics at a very close distance, the proximity effect occurs. This is a phenomenon where low frequencies are exaggerated in relation to the other frequencies. Even though computer keyboard typing doesn’t involve a lot of bass, the proximity effect might increase the unnatural sounding result even further. After tests and evaluating we established the sweet-spots for recording at: – 0,9 m (3 ft.) for dry takes – 2,5 m (8 ft.) for room tone takes. The room used for recording is equipped with a lot of acoustic absorption material, and no sources of noise present while recording.
The keyboard set-up: A computer keyboard is typically located on a table or some other kind of hard surface when being used in real life. In a recording situation however, this would create unwanted resonances – especially in the lower frequencies – from the table being in contact with the computer keyboard housing. Initial tests confirmed this as well. Hence we had the keyboards placed on a rig of acoustic absorption material while performing the actual recordings.
MOTION GRAPHIC PRINT-OUT TRACKS
140 out of the 252 sound effect tracks are especially created for motion graphic print-outs. (Also known as typing-text animation, or typewriter effect). These are based on recordings of a laptop and a Vintage Commodore 64 keyboard in addition to the four kinds mentioned above. This Commodore 64 keyboard is the early “bread bin” construction type, and we recorded it using two different microphones, resulting in the attributes rough and clean within the file names. All recorded keyboards were then used to create the print-out effects in 20 different BPMs (Beats Per Minute).
Watch the example video below to observe how a selection of these sound effect tracks perform when added to text-typing animations.
Since these motion graphics tracks are all very steady in pace, they could potentially become too monotone – especially if they would have been based on one or just a few keystroke recordings. That is why we made sure to have enough to choose from. Hence, each keyboard file is assembled from 20-30 unique round-robin variations. The result is sound effect tracks with a constant pace and similar keystrokes, but without the “machine gun-ish” feel that would occur with too little variation between the recorded files.
EDITING AND FINALIZING
– Editing and Post-Processing
After recording, the editing and finalizing are the final steps before the product is ready for use. So what has been done? Short answer – as little as possible. We believe in minimal processing, this applies to all our products. Only a bit of regular equalizing (Fabfilter Pro-Q, linear phase mode) has been applied. Lastly, fades in/out for each track have been added.
– Finalizing and compiling the product
This sound library is metadata-tagged according to the Universal Category System standard. In addition we offer the library with UCS file naming syntax, as well as with our own Easy-to-Read file naming structure. (Read further on the file naming subject and what to choose over at our file naming formats section.
Regardless, these sound effect tracks are named according to the different keyboards types, and which keys pressed (or other activities). In addition, the files are named according to:
– Dry/Room This communicates whether the recordings are performed in a dry setting (0,9 m / 3ft. recording distance), or with room tone (2,5 m / 8 ft. recording distance)
Product Insight – Computer Keyboard
WHAT IS THIS PRODUCT?
This product is a collection of 252 sound effect tracks of computer keyboard typing.
Four different kinds of computer keyboards were thoroughly recorded – and alongside designed effects and motion graphics print-out tracks in various tempo – this sound effects library is both compact and comprehensive. Read on to learn how we made it.
HOW DOES IT SOUND?
This Demo features the following sound effect tracks:
00:00-00:03: Computer keyboard, Mechanical blue, Num pad, Dry
00:03-00:04: Computer keyboard, Mechanical blue, Enter, Repeating, Dry
00:04-00:06: Computer keyboard, Mechanical blue, Enter, Repeating, Room
00:06-00:07: Computer keyboard, Mechanical blue, Enter, Dry
00:07-00:08: Computer keyboard, Mechanical blue, Enter, Long press, Dry
00:08-00:09: Computer keyboard, Mechanical blue, Enter, Long press, Room
00:09-00:16: Computer keyboard, Tablet, Medium speed, Dry
00:16-00:17: Computer keyboard, Sound designed, Shift, Dry
00:17-00:18: Computer keyboard, Sound designed, Shift, No release, Dry
00:18-00:19: Computer keyboard, Tablet, Alphabet key, Dry
00:19-00:20: Computer keyboard, Tablet, Enter, Dry
00:20-00:21: Computer keyboard, Mechanical blue, Push multiple keys, Room
00:21-00:22: Computer keyboard, Mechanical blue, Slide on keys, Fast, Dry
00:22-00:23: Computer keyboard, Mechanical blue, Hit keyboard, Hard, Dry
00:23-00:25: Computer keyboard, Mechanical blue, Hit keyboard, Dry
00:25-00:32: Computer keyboard, Mechanical blue, Hit keyboard repeatedly, Slow, Dry
00:32-00:35: Computer keyboard, Mechanical blue, Finger movement, Variations, Dry
00:35-00:38: Computer keyboard, Mechanical blue, Medium speed, Aggressive, Dry, Short take
00:38-00:39: Computer keyboard, Mechanical blue, Push multiple keys, Room
00:39-00:44: Computer keyboard, Membrane, Slow, Aggressive, Dry
00:44-00:50: Computer keyboard, Mechanical blue, Medium slow, Aggressive, Dry
CHALLENGES
Computer keyboard typing is a relatively silent activity. This means that even under ideal recording conditions numerous challenges needs to be addressed.
Noise levels
The main challenge when recording something as silent as keyboard typing is keeping the technical noise levels as low as possible for all effects recorded.
Recording distance and choice of microphones
In order to achieve low noise levels, it’d be tempting to simply record by putting the microphones extremely close to the audio source (the computer keyboard). This however, doesn’t sound natural. Finding the sweet-spot between recording distance and noise levels is essential for creating a high quality sound effects of keyboard typing.
Keyboard build quality and room/material resonances
In order to create an extensive sound effects library covering lots of different computer keyboard typing, the choice of which models to record was important. Also, throughout the recording process we learned that build quality and physical resonance issues affected both consistency and intonation.
THE KEYBOARDS
There is a vast amount of computer keyboards models available. The selection we made is based on different construction types, each creating its own distinctive sound. With these different models recorded, we’d be covering the corner stones of computer keyboards both technically and sound wise.
Keyboard with Mechanical Blue Switches (QPAD MK-80)
The mechanical keyboard construction is historically the most common kind. Each key contains its own complete switch composed of a housing, a spring and a stem (and sometimes additional parts). This kind of mechanical construction is still used in contemporary desktop keyboards, and are especially popular within the gaming community since they are more tactile and sturdy than other modern keyboard types. In addition, this model allow for modification and personal configuring. The blue switches (color labeling created by keyboard manufacturer Cherry) refers to a certain kind of tactile switch, which ensures an extra resistance is added when the key is pressed down. This keyboard construction makes the loudest and “clickiest” sound of the ones recorded for this sound library.
Keyboard with Mechanical Red Switches (HyperX Alloy FPS)
As opposed to the blue mechanical switches, the red switches are linear, with no additional resistance when being pressed. The red switches keyboards are less loud than those with blue switches.
One of the computer keyboards recorded -a HyperX Alloy FPS with red mechanical switches
Rubber Dome over Membrane Keyboard: (Logitech K120)
The “rubber dome over membrane” keyboard is the most common construction type for contemporary keyboards. These utilize rubber dome in conjunction with the membrane construction, resulting in a robust and yet compact design. Since the housing and travel distance for each key is flatter/smaller, the sound is more subtle and smoother.
Tablet/Laptop Keyboard: (Microsoft Surface Type Cover 2)
Most modern tablet (and laptop) keyboards utilize a compact version of the rubber dome over membrane design, where scissor switches are used. These switches allow for stable mechanical motion in a low profile keyboard design. Most modern Apple laptops utilize scissor switches. For sound recording purposes a tablet keyboard is better suited since it is possible to record “stand-alone”. (A laptop keyboard is integrated in the computer housing, which adds an extra resonance to the keystrokes. This is not optimal from a sound recording point of view.) The tablet recording presented the biggest challenges regarding noise levels, since the keystrokes are so silent.
THE RECORDING PROCESS
– Recording equipment
The microphones used were 2 x Neumann TLM103D, and 2 x Neumann KM184D and 1x KM183D. These are completely digital microphones, where the sound waves entering the microphone are instantly converted to digital data, without any analog amplifying in the microphone itself. The TLM103D is a microphone of the type large-diaphragm cardioid condenser, while the KM microphones are of the type small-diaphragm cardioid. Both these microphone models have very low own noise levels and are hence well suited for the low volume recording of computer keyboard typing. The TLM103D’s have among the lowest built-in noise levels of any microphone on the market. Hence we used them to record the very silent membrane and tablet keyboards.
– Recording Settings
Everything was recorded in 96KHz 24bit waveforms. The standard for audio in video is 48KHz. The 96KHz recording allows for pitching the sounds down to corresponding 50% of speed and still be within the 48KHz sample rate, with all data within the human hearing range preserved. This can come in handy when sound designing for slow-motion action, where the use of pitched-down versions of sound effects to match the action is common practice.
All recordings have been done in stereo. More precisely in AB-stereo with 40 cm (1,3 ft.) distance between the microphones. AB stereo also ensures the optional use of perfect mono. This is easily achieved by just using only one of the two channels
– Recording methodology
Recording distance:
As mentioned above in the challenges section – finding the optimal recording distance is a balance between making the keyboard typing sounding natural, and keeping the noise at acceptable levels. This balance is also affected by the choice of microphones. Initial tests using an omni microphone (Neumann KM183D) extremely close to the keyboards rendered a result far too dynamic. Cardioid mics (Neumann TLM103D, and KM184D) from the same very close recording distance sounded even less natural. In addition, when using cardioid/directional mics at a very close distance, the proximity effect occurs. This is a phenomenon where low frequencies are exaggerated in relation to the other frequencies. Even though computer keyboard typing doesn’t involve a lot of bass, the proximity effect might increase the unnatural sounding result even further. After tests and evaluating we established the sweet-spots for recording at:
– 0,9 m (3 ft.) for dry takes
– 2,5 m (8 ft.) for room tone takes.
The room used for recording is equipped with a lot of acoustic absorption material, and no sources of noise present while recording.
The keyboard set-up:
A computer keyboard is typically located on a table or some other kind of hard surface when being used in real life. In a recording situation however, this would create unwanted resonances – especially in the lower frequencies – from the table being in contact with the computer keyboard housing. Initial tests confirmed this as well. Hence we had the keyboards placed on a rig of acoustic absorption material while performing the actual recordings.
MOTION GRAPHIC PRINT-OUT TRACKS
140 out of the 252 sound effect tracks are especially created for motion graphic print-outs. (Also known as typing-text animation, or typewriter effect). These are based on recordings of a laptop and a Vintage Commodore 64 keyboard in addition to the four kinds mentioned above. This Commodore 64 keyboard is the early “bread bin” construction type, and we recorded it using two different microphones, resulting in the attributes rough and clean within the file names. All recorded keyboards were then used to create the print-out effects in 20 different BPMs (Beats Per Minute).
Watch the example video below to observe how a selection of these sound effect tracks perform when added to text-typing animations.
Since these motion graphics tracks are all very steady in pace, they could potentially become too monotone – especially if they would have been based on one or just a few keystroke recordings. That is why we made sure to have enough to choose from. Hence, each keyboard file is assembled from 20-30 unique round-robin variations. The result is sound effect tracks with a constant pace and similar keystrokes, but without the “machine gun-ish” feel that would occur with too little variation between the recorded files.
EDITING AND FINALIZING
– Editing and Post-Processing
After recording, the editing and finalizing are the final steps before the product is ready for use. So what has been done?
Short answer – as little as possible.
We believe in minimal processing, this applies to all our products.
Only a bit of regular equalizing (Fabfilter Pro-Q, linear phase mode) has been applied. Lastly, fades in/out for each track have been added.
– Finalizing and compiling the product
This sound library is metadata-tagged according to the Universal Category System standard. In addition we offer the library with UCS file naming syntax, as well as with our own Easy-to-Read file naming structure. (Read further on the file naming subject and what to choose over at our file naming formats section.
Regardless, these sound effect tracks are named according to the different keyboards types, and which keys pressed (or other activities). In addition, the files are named according to:
– Dry/Room
This communicates whether the recordings are performed in a dry setting (0,9 m / 3ft. recording distance), or with room tone (2,5 m / 8 ft. recording distance)
Download full product demo here:
The demo download file is identical with the complete product available for purchase, only with all tracks watermarked.
Browse the full contents of the Computer Keyboard Sound Effects Library:
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