I recently recorded the sound of Caribbean surf and the gurgling of the waves as they receded from tide pools on a beach near Playa del Carmen in Quintana Roo, Mexico. I did my best to shield the wind from the mic, but the cheap foam wind screen I brought with me was painfully inadequate.
To try and repair the sound I edited a few instances of clipping, and ran the lot through a a high pass filter to reduce some of the wind noise. Finally I compressed the audio to bring out some of the gurgling and splashy sounds.
Caribbean Surf
This atmospheric effect is a continuation of the experiment from yesterday involving the Flying Waves VST. This time I loaded up a sample of air 
There are so many ways to use processing to make scary sounds that it’s almost too easy. The classic reverse reverb in the original Poltergeist comes to mind. This example is a recording of a conversation with a colleague during a lunch break at a busy sandwich joint. It’s been reversed, pitched down significantly, run through a low pass filter, slowly phased, filter delayed and run through a long reverb. All this processing has diffused the voices into a hellish ambient drone. 
The weather was unseasonably warm in Minneapolis today. As I write this it is nineteen degrees centigrade (sixty six degrees fahrenheit) at 7:11pm on a usual chilly late October evening. Days like this require mates on bikes to meet outdoors to drink beer at undisclosed locations near bodies of water. On my way to such a location I was held up by a train and decided to record it. 