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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 ...


10

In my opinion, the only true rule in sound designing is: It must be believable. When it comes to stuff like bonestructure, and mouth cavity form for example, noone really cares as it's virtually impossible to predict exactly how such things affect vocalization even for someone studying these things for a living. Mass do affect the sound as bigger lungs and ...


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

That depends... In Sweden we call ambiances "atmospheres" which I think is a better word for describing the function of ambiances. An ambience tells us where we are and what we should feel like. When I started out working with post sound I used to think ambiances was all about putting a lot of stereo recordings on top of each other to create a fill... Now ...


8

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


7

When I establish, or experience, sound design based on a concept, that usually means a set of overarching design principles or themes that act as a set of heuristics that can guide decisions - and critiques - made along the way. Is it intended to compliment or contrast the emotional tone of a scene? Are there emotive descriptors that can be used to influence ...


6

For interface sounds you can use recordings of small stones, metal parts, ice, breaking glass etc. Take snippets not from the most loud parts of the sample, but from the tail. Build your sound from several elements to make it sounding nice. In some cases, add melodic elements (bells, mallets).


6

Nothing really apart from fooling around with "AVOX Throat" IMHO. It's going to be really tough to try to accomplish that without ADR. I'd really suggest strongly seeing how you can go that route. Also, did the actor deliver the lines in a different timbre than his/her regular lines before the possession? That alone would be cause for ADR in my opinion - ...


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

Squarespace for hosting, Vimeo for video, and Soundcloud for audio. That's the holy trinity as far as I can figure it.


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 ...


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 ...


4

I find Mario games usually very inspiring for UI & HUD sounds, and love borrowing their ideas. It basically comes down to creating fast and short tonal scales of mallet-like sounds that are in the same key as the background music. So ideally it's either you who's also writing the music, or you collaborate closely with the composer to ensure consistency ...


4

When I have to deal with a generic Hud, I usually come with fm synthesis first . The flexibility and the control of the fm process help the creation of a large variety of tones which can cover all interface actions (validation, error, cancellation, rollover, etc...). Plus this sounds particularly clean on small device speakers. For a themed menu I try to ...


4

most interface sounds regardless of style need to be incredibly short. start with drum samples. Real kits or samples from electronic kits. Process some hi hats and layer them on top of processed kicks for a starting point. Take any sound that has a transient and just trim around the transient...just those few milliseconds. Once you have a bunch of these you ...


4

It may sound horrible, but try toying with using a reverb with an IR of glass or ice breaking/cracking. You can also do a lot with breath. When I create special voices like these I spend a lot of time augmenting or even replacing the breaths and exhales of the actor with custom effects depending on the character and his mock-up, in your case you could use ...


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

Always depends on what the overall ambience and feel should be of course. What type of game is it? I really enjoy the iPhone games that are on the app store, all of them have very nice menu sounds. Like the Halfbrick Studio games, Fruit Ninja for example. One interface (and overall sound in game btw) I really liked was "Bulletstorm". I know that isn't ...


3

Hello, There are a number of ways of doing this Sound Hack has a variable cross convolution process and is great ( as is FScape ). Spectrumworx Audiosculpt SPEAR Composers Desktop Project can all do this kind of thing. Alchemy and metasynth as mentioned are also very good . I was recently at a kyma Conference and got to meet a fantastic chap called Pete ...


3

You can make the classic transformers sound using a flange and tremelo and preferably source input that rises and falls in some way. For example ....choose anything from a simple sine to a complex sample, slow lfo on it's pitch, pass it through meta flanger into tremelo and fiddle with the trem speed etc. For more complex transformations, it's good to ...


3

This question is really broad and would require a book to answer. But I will say that I believe that a primary role of sound designers, especially those working in movies with visual effects or animation, is to make the audience believe what they are seeing on screen is indeed real and interacting with the physical world. A CGI Dinosaur or an enormous ...


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 ...


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