Great track! Has a winding exotic melody with sounds that feel as though they are looming just around the next bend. Subtle moans and footfalls populate the track adding to the impending doom.

Excellent piece! I can make use of this to give the feeling of a disaster having just taken place. The drifting music, the crows call all work together to set an ambiance of something dreadful having just taken place.

Wonderful track with a lovely soft woodwind intrument that conveys an exotic tone. Yet intersperced within are groans and hisses making the overall feeling of menace hang in the air. I love this for any tomb raiding set against an Egyptian background. I hope there are more in this theme.

Absolutely brilliant track. Its dark, its creepy and conveys a feeling of something stalking you... getting closer, then backing away... Great stuff here.

This makes an incredibly busy nighttime cemetery, particularly the repetitive dog barks. Some effects, such as the digging, are too loud; perhaps you need the sound of the player characters digging, or talking to a gravedigger while he's trying to dig a grave (which would set the scene well back in history for many areas), but it really is too close. The incessant barking is really getting rather annoying. (I'm listening again as I type this.)

I recently attended a model railway conference where the lectures included workshops on layout sound. One of the biggest issues was TOO DAMN LOUD. That's what I've heard here.

All the sounds you expect are present, but there is one that is too much, and that is the wind. The noise of the loose parts of the building is also too loud, but exacerbated by the massive blast of wind. As you might expect, the loose shutters etc. are louder because of the gale-force winds, but the better solution would be to lower the wind velocity until you have an abandoned factory with an eerie howl of wind blowing through it, rather than, as we have here, an abandoned factory caught in a Category 2 cyclone. (I've been there. Not a factory, but I've been there. I know.)

Feel free, of course, if you happen to have an abandoned factory in your campaign and need the PCs to stay there due to a severe storm, but it's much too loud for gaming ambience.

Very nice. A bit darker than Cathedral at Dawn in my opinion. Very much a forest or outdoor setting. I really like all of Gil Luna's work, it's all great. I really appreciate how he specifically describes each piece, rather than just offering the title, like another background gaming audio publisher.

Very nice, peaceful. Ethereal without necessarily being spooky. I used it for a backdrop to a "souls in limbo" larp.

This Audio Product is very interesting, although it sounds more like a swamp than a forest. Any way, it is nice.

I was uncertain of the effect this would add to my gaming table, but wow, both myself and players were impressed. The foreign bazaar / middle eastern sound really helped all of us get into the game. The little sounds, such as the animals and people haggling, really felt like we were on a street somewhere with all this action around us. I did not need to describe every little action happening as they could hear it.

A huge benefit to my game, looking forward to trying out some more.

Also it's only $2, which is a very fair price to try this out. Very affordable and reasonable.

The titular giants apparently live in a rocky, windswept clime. The track gives us wind, but I hear no rustling of trees. The overall effect makes me think of tundra, or maybe a place with the terrain Arizona's or New Mexico's canyon country, but a lot colder. I'm not quite sure why the track suggests such a northern reach to me; maybe it's that the wind sounds so much like the wind in Gil Luna's explicitly arctic soundscapes. The percussion in this piece could just be a way to provide a sense of menace, but it makes me think of giants beating drums, or throwing rocks at each other. Hill giants, stone giants, and maybe frost giants populate my mind while this track plays; fire giants and storm giants, not so much. The piece is great for exploration of giants' territory or negotiation with said giants. I would not recommend it for a combat scene; the pace is too slow for that.

Soft, vague instrumental and vocal music swirl around each other in this piece, creating an air of mystery. Sounds to me like the wizard is either quasi-friendly or not at home. I don't get a sense of menace or danger, unless some of those vocals come from ghosts who will later turn out to be hostile. The track would make great backing for an exploration or interaction scene; it's definitely not the right mood for a fight scene. Even though the title refers to a wizard's (or alchemist's or sage's) tower, I think the audio is much more flexible than that. The track would feel right at home under a scene set in a mystical forest glade, or under water, or any number of places. It would also work just fine for a visit to an alien planet in a sci-fi game, or even in a Cthulhu-themed game when you want to evoke a sense of wonder (you know, before the ghastly horror of the situation dawns on the victims, er, PCs).

Soldiers armed with automatic weapons and grenades throw down against strange insect-like monsters from outer space. That’s what the title promises, and that’s what the audio delivers. There is enough difference between this track and "Spec Ops Team vs Otherworldly Being" (a.k.a. "Spec Ops Team vs Large Entity") that the two tracks aren't redundant, but they're enough alike that if staging a firefight between soldiers and aliens is rare for you, you could probably get by with just one. The big difference is that this track implies a larger number of smaller enemies, and the other track implies one larger enemy. This track is very good at setting the tone its title suggests, but it presents a dilemma. If you play it loud enough to be "realistic," it may interfere with the gaming conversation at the table. If you play it softly enough to be unobtrusive, it may sound like the fight is far away.

Soldiers armed with automatic weapons and grenades throw down against strange insect-like monsters from outer space. That’s what the title promises, and that’s what the audio delivers. I like this track a lot, even though it’s very similar to “Spec Ops vs. Otherworldly Being/Large Entity,” with different monster sounds. The only downside to this track, as with the other “Spec Ops” track, is that the volume level you need to make the track feel right could interfere with the actual gaming going on at the table. You’ll have to sort that out yourself if you use the track, but I can definitely say that’s the only impediment to me using it in an appropriate fight scene.

Play this track, and you’ll find yourself right in the middle of a firefight between a heavily-armed team (machine guns, the other kind of RPGs) and some kind of monster. I’m not sure who’s doing all that screaming — bystanders or the unluckier spec ops personnel. The monster’s roars are pretty evocative. The flavor is just right. The downside is that the track is very busy and noisy, and could overwhelm the gaming going on in the foreground if you play it too loud. But if you play it too softly, it sounds unrealistic or far away. I’m not sure how to resolve that dilemma. By the way, the catalog description identifies this track as “Spec Ops Team vs Otherworldly Being,” but the ID3 tags call it “Spec Ops vs Large Entity.” A little confusing.