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4

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 ...


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 ...


4

The best advice I can give is to make a lot of mistakes. And learn from them. So, if you really are serious about this: start today. Select one animation, any animation already there, download it to your computer. Import it into a video editor -- I personally like Davinci Resolve as it is extremely complicated and very free. (Sorry should say extremely ...


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

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

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 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. ...


2

The majority of that video sounds like granular synthesis. You can find components that do this in Ableton Live, Reaktor, or Max/MSP. I think MOTU ship an awesome granular in MachFive. Or you can google Imperial Grains or a PC equivalent. Re the little sounds sprinkled all over the video, many are microsampled bits such as metal and glass particles (or you ...


2

Fellow Sound-Designers, I have a sound to share...via, ahem, the cloud. Now, despite Jay's delicously audible description above and the rest of your input and ideas about an elevator accident, the featured elevator sounds in this production turned out to be a less climactic. Groaning, screeching, creaking (throughout), with a few start-up/slow-down ...


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If you have Reaktor, then try S-Layer: http://twistedtools.com/shop/reaktor/s-layer/


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Spend your money on a good convolution reverb (e.g. Altiverb, LiquidSonics Reverberate, others. Though the reverb plug-in is not as important as the impulses that you get, esp. in Altiverb). Secondly, AudioEase Speakerphone and iZotope RX are significantly useful products. In terms of EQs and compressors and a bunch of other stuff, not that necessary. You ...


2

stick with 48/24 without applying any dither? Dither adds noise. Noise * 100 tracks = more noise Use any DAW. Literally any DAW. They all allow varying degrees of automation, but there is no DAW "sound designers use" (pro tip: everyone uses two or more) - whatever you, yourself, can do it quickest or easiest in, is what you should be using. I'd use a two-...


2

It's all down to good editing, and a good palette of sounds. I go about this by placing markers on the timeline at key points, then edit to those. It does take a while, but the results are always very satisfying afterwards.


2

This is not exactly an answer to your question, but for a while now I've been trying to think of what could be a useful lightweight rig for recording ambiances. I thought I might of found it a while ago in the Telinga SSM partnered with a small recorder providing plug-in power. I saw this shot of one mounted on a gorillapod: It would probably all package ...


2

If you're looking for something extremely compact, the new Sony PCM-D100 is fantastic. It's the best you'll find in such a small package. Other than that you'd be looking at a 702 and small blimp setup as you've mentioned. I've travelled through Nepal, India, Australia, and Cambodia with my 702 and an MS pair of Schoeps CCM mics in a rycote blimp and ...


2

I haven't worked with the PCM 100 yet so it may outperform my recommendation, but I would go with the PCM M10 as your bit bucket. Instant on, battery life for days, memory rolls over from internal to the SD card seamlessly, and its the size of a cell phone. You'd need a small 2 channel preamp to go with - I use the SD mixpre with mine. Sounds great, super ...


2

Sub bass will be entirely lost through in-ear phones. You can't get around this, as it's basic physics. The only real solution is to have bigger speakers. So the way round it is to add in some mid bass - which will be audible, and if arranged correctly can give the impression of lower bass.


2

Is the compression applied correctly? It sounds like you are applying compression to the overall signal rather than just the guitar. In that case, if the secondary instrument gets louder, it could trigger the compression of the entire signal resulting in a reduction in the signal level of everything else going in to the compressor that was at static level. ...


2

Great background music is what will make your client fall in love with the project. Unless they hate it. You really can't control that. Just follow your ears. For the impacts (spear to boar, boar to ground) a little exaggeration in the low end goes a long way towards indicating weight, heft, and momentum. I mean a little, underplay your hand with ...


2

maybe other signs of life? insects, birds, roaches, mice? maybe just various house creaking, settling sounds, wallpaper peeling? some varying room tone that changes subtly or modulates, or perhaps a little bleed of outside noises.


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A typical way is through stuff like childrens laughter, distant in the mix. Other things are birds chirping, maybe casual conversation, table and tableware clinking, also distant in the mix.


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There is no correct answer here, as is the case almost all of the time with questions about sound design. No rights, no wrongs, only different interpretations. My interpretation of this particular scene may be to apply sounds that are a direct opposite to what is on the screen. If a desolate room is shown, then perhaps fill it with a boisterous party filled ...


2

First of all it requires 'Experience' ! Second of all take some break and listen to the stuff after a day or two and use different kind of headphones to judge your sound design. Also sitting not too close to the monitors helps a lot. But still you have to listen to people's opinions, we often miss things here and there or we just over do.


2

Convolution reverb would be your best bet here. Find an impulse response that is recorded inside a stadium and run the plugin via auxilary send so you don't wash out the initial sound source. Make sure to also EQ the reverb if needed, Space Designer comes with a built-in EQ but you can also use a typical channel EQ as well.


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