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11

(fade up on scene already in motion) The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different... (cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...) CRACK!!! The ...


9

To answer your last question... " do I have a chance of producing something of even intermediate quality with what I have in my "arsenal"?", the answer is yes...Sound Design really only requires three things... two ears and a brain, and I'm going to assume that the fact that you are here and asking these questions puts you in possession of all three! :) ...


8

Try this out: [youtube]m40ZAfJb4f8[/youtube]


6

this sounds like a fun problem. :) by what percentage is the footage slowed down? if its in the 10-20% range, you could go with straight foley and it may work (no pitching or slowing down required, just perform it to picture) and leave bgfx natural sounding. This will give the impression that all of this is actually happening at the slower speed in ...


5

Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling "odd" parts out of the recording e.g. around transients or after them or ...


5

People say this a lot but listen (analyse) to the different mediums where sound design is used. I'm no expert but when I'm listening I ask myself why that sound is used as pretty much everything you hear was a conscious choice, I always try to keep that in mind. Also many sounds sound alike, think about what you think it sounds like and how you would create ...


4

Sound design is not something you can learn overnight, and it's far more than just sourcing sound recordings. Perhaps you should work with a sound designer on these projects and ask them to let you in on a bit of the process so you can learn in small steps. You might even find someone to help here....


4

i think i know what you mean, like give you almost a physical reaction... the famous "bite the curb...' scene in american history x... just that sound of the teeth on the concrete is what scares me the most and makes me want to turn away... i also remember in 127 hours when he has to place the knife to the nerve endings in his arm and there is an almost ...


4

I think peer critiques are great, especially for folks just starting out in sound design. There's a neat little subreddit called r/RateMyAudio that is meant just for this and it could definitely use a larger active community.


4

What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably ...


3

Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds ("musical sounds" vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two ...


3

I know what you mean. Sometimes I wish I had the ability to have track folders like in Logic, a feature that Pro Tools hasn't absorbed yet. I'm not sure if you're asking about a literal template file or just a standard structure for your workflow, but ultimately it's just about your preference. Let's say that I am designing a standard romantic comedy — ...


3

Record a wheelbarrow with well-lubed bearings on the surfaces you need: No motor noise, true pneumatic wheel. I can't count how many effects I've generated with wheelbarrows..!


3

Focus on relationships. Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people. A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, ...


3

I agree with everything @Internet Human said. I've worked professionally at a studio for almost five years and relationships are everything. The people who really understand that what we do is fundamentally a service industry and structure their work philosophy around that are the ones who go the furthest. Relative to a lot of disciplines, the social ...


3

As a game sound designer for over 20 years, I'll second all that has been said already! Know tools, know processing, know storytelling, know coding or at least scripting. You might consider taking some acting and directing classes while at the University; I found myself on many occasions doing voice casting and directing and my experience in the theater was ...


3

I gotta say, if you're a mac user, Michael Norris Soundmagic Spectral. Wild stuff. I'll spend some time a few mornings of the week just putting up a drum loop or something else like noises in logic and just switching the plugins out and recording the outputs. They can be difficult to follow because the terminology is not similar to many other plugins, but ...


3

I don't think it's necessarily out of form. If someone is posting here in hopes of gaining attention or exposure within the sound community, they're wasting their time. If, however, they're looking for honest and constructive criticism, they've got a good chance of finding it. To be honest, I tend to ignore reel posts. I just don't have the time to sit down,...


3

With a lot of channels you can imitate a vocoder: You need to split the carrier and modulation signal into frequency bands as Internet Human stated. For each frequency band you need 3 tracks with the exact same filter setup for example for band 1 you chose lowpass at 100 hz and highpass at 50 hz. One channel has the modulator as its input signal, the other ...


3

By knowing people who work in said American companies (esp. in marketing). By interning/working in an audio (post) production house that does a lot of the productions that you're interested in. By knowing freelancers that do said productions and getting them to hand you some of their work (e.g. editing) and forming a partnership that way. By establishing ...


3

It happens all the time. We also contact friends and peers who might have the sounds we need, and trade effects back and forth (which is a great way to expand your library). Everything in audio post is predicated on budget, time and need. We'd all love to record or synthesize brand new sounds for every element needed in a film, but that's just not a ...


3

Highly relevant, you will enjoy digesting the many examples in here: http://tvtropes.org/pmwiki/pmwiki.php/Main/ShellShockSilence Mass Effect games also have this effect when you're "low health", a low-pass filter blurs the music until you recover:


3

The most "proper" solution is to use a bass sound that in itself has some midrange as well. For normal subtractive synth sounds, that means: don't use too steep LP filters, try a simple 12 dB/8ve or perhaps 18 instead of 24 dB/8ve. There's a trick that works pretty well on almost any bass, to introduce some "non-sub" harmonics: apply gentle overdrive/...


2

Hook up your spectrum analyzer and start playing with EQ and Waveshaper chains. I'd hope any DAW provides at least those, fruity does and it's cheap if some other package doesn't. I personally like to pre-EQ for bass and slight higher-mid boost -> Waveshape with a sharp rise, a fall, and finally a mellow rise to create some nice dynamic transient harmonics -...


2

I created a sound design for a theatre production of Waiting for Godot using primarily feedback chirps from a delay pedal (Line 6 DL4) - and then doing some creative cropping, panning and amplitude envelops.


2

I am very interested in distorted sounds and did some research, testing on it, to get pleasing sounds. Here are my tips to get better distortion: Dont overdo compression. It might sound great when you turn the knobs, but on the next day it might be just to much. Mix Dry Wet when you want a gentle distortion. Roll of low frequencies before distorting. ...


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