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Temporary deaf effects are done with a low pass filter on the sound, then a single high pitched sine wave to emulate the ringing. I am not sure how unity works, but when the player if deaf, use their dsp api to low pass filter all the game sounds, and then play an additional sine wave sound.
unity low pass
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Max/MSP. I make custom patches for all my Post-Digital, Glitch aesthetics.
Also, try opening up audio in a text editor and edit the text.
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When I dropped cars, we used this massive forklift thing:
https://plus.google.com/photos/112773450273987656053/albums/5575619157179451041/5575619181206793730
The great thing about the forklift vs cranes, is that it is very quick, you don't have to rig up quick release systems, and there is no reset time. The downside is that your operator has to shut the ...
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always funny to see different sound effects editors discover the same sound.
I know that early in my career I thought that I was being very creative and original when I'd find a great library sound that worked perfectly in a given moment, then feel sick to my stomach when I'd hear that same effect cut in by someone else in a similar spot on a completely ...
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Sounds like either a scrub tool, or reverse, or both.
Could also be just chopped up samples that are re-arranged.
I don't think this is a standard effect though.
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I've got an app in the iPad for that: Loopy
Much more modern and convenient... The pedal is optional you just need your fingers =)
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Yes, there are plenty of ways to do this when mixing. Normally each of the left and right signals have their own channel in a mixer and can both be panned center or wide left/right or anywhere in between. There are also stereo imaging plugins that can narrow or widen the spread of a stereo signal and change the "center" of the signal. As Stelios mentions, it ...
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You may want to take a look at a sound effect generator program, and create the sound yourself.
For example, you can use http://www.bfxr.net/, which is an online tool, no installation required.
You don't need to be an expert to create pretty decent effects. Just click Randomize until you get something similar to what you are looking for. Then you can tweak ...
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Since sound design is no science but art there are multiple ways to evoke a certain impression in the listener/viewer.
What I would use is a bit crusher / distortion effect used on a sine wave that pitches down.
Native Instruments has a extension pack for Guitar Rig that has such an effect unit. It is called Traktors' 12. This comes at a price of 69 EUR. ...
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This depends a lot what you are trying to archieve with sound (is it supposed to imply power, violence, is it stealthy, do you want to emphasize the weapon used etc), but here are some elements I've used
Attack/impact:
-Short clip of metal scratching to metal sound.
-Knife stabbed to soil
-Crowbar hitting soil
-Slush stomp impact
-Different fruit/...
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Put some glass cleaner on a mirror and rub with a towel
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These days, it's all about the sound being realistic; which unfortunately means shooting, punching and stabbing the producer. Don't forget to record it though!
Just kidding, but a watermelon doesn't seem like the right kind of consistency; it's hollow and juicy. I think I read somewhere that some foley artist used to use a cabbage. You could try a sack of ...
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May be because of the notes, you might hear it's wobble.
But actually it's more like gliding sub-bass. You can start with "3x Osc" default sound.
1 - To get a gliding sound, you need to turn on the "mono" function which is in the fourth tabs of 3x Osc.
2 - As it's a sub-bass, you have to draw the note in a very low octave. May be around C3 or C2....
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If by vocoder you mean "voice simulator" you can try the following cli on your Mac's terminal:
$say "Hello World"
For more informations about the command line type in
$man say
If you search for the other type of vocoder, try Jack with a normal vst plugin like Matrix on your Mac.
If you are on Linux it's even better here is what I've found searching ...
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So long as you're doing some sort of transformation on the vocal sound, it can be reversed.
A vocoder is probably the the best way to go if you need real-time disguising.
If concealing vocal identity is paramount, then you shouldn't be utilizing a voice recording at all. You should instead use a method that totally obfuscates the original vocal signal, ...
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The best thing I know is to use TRAX software from Flux / IRCAM, for which an astonishing video is posted here. The software enables independant Pitch / Formant / Gender / Age control as well as mapping to subtle LFOs, and ability to add further Formant/Spectral envelopes. The software is designed for both speech and singing voice signals.
The easiest way ...
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some pitch detunes and filters tied to the most random slow and medium fast LFO are very difficult to decode, like i think it would take a typical audio pro a lifetime before he gave up on it, any FX like volume, overdrive, vowel morph, vocoder, just has to be on super random LFO's.
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If you're looking for opinions, It sounds like the source sound is made up of;
A rocky surface(gritty, ha) being hit with a heavy object, with rocks being dislodged, crumbling and falling.
There's also a wooden stick kind of whacking sound. Maybe the crumbling rocks are hitting wooden floor. Sounds more like they're hitting logs or Bamboo though.
As for ...
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Yes - if you want effects, running them is effective both pre-DI or on an effects loop from Sonar.
On stage, I always use my Line6 pedals. And generally I use the amp sim on board and use the XLR outputs straight into the house PA.
If I use on stage amps, then I just disable my amp sim, and mic the amps (then DI them to the house PA) - on board my pedal I ...
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For effects like this where the entire track is re-pitched and chopped, you would export the final mix and then run that into something where you can alter the speed destructively (and thus the pitch) and then chop it or draw a set of hard volume curves over it and you'll have it. The 'tape-stop' effect is part of the effect that follows or vice-versa. The ...
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I would export the whole song up to that point (or at least just before the "stop"), and bend the pitch down a few octaves, then alter the dB manually until I get what I want. For the scratching right after, I'd play around with gradually bending the pitch up with a rapid succession of spikes (by gradually, I mean gradually increase the intensity of the ...
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You could do this by slicing up the audio into little chunks and then using time manipulation to screw with the pitch. In Logic you can use FlexTime in "tempophone" mode to do this, and Adobe Audition has a destructive "time and pitch" tool that can do this with even more control.
Another approach I've used for something similar in Logic is to use Tape ...
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It's also possible he's using something like Ableton Live to record the samples as he performs and play them back as he continues to perform.
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Tracking is the easiest and normal Way if you have different FX for one Instrument. Another way is to add both fx settings after each other and then Automate wet/dry.
Good Day
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"Basically seperating Formant from base, and the ability to set a Freq range on the base will do that simple effect."
There you have it. Now find the relevant parameters and settings.
To put it straight, what it says is that you use a pitch-shifting plug-in that can perform pitch-shifting separately to the entire sound and just its formant parts: ...
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All of the above, but perhaps a lesser known but interesting glitch box is the Lost Technology VST, especially if your host can randomize all the parameters. I also love to combine it with the Atlantis filter delay VST. GrainCube is also good fun.
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In Pro Tools, flip on the elastic audio mode to either polyphonic or monophonic. Set the track to warp and add breakpoints at random. Stretch out the waveform. Don't be afraid of the waveform turning red (I believe this indicates potential for artefacts) - in fact, embrace this. Go crazy with it. When you're done, for further glitchiness, chop up the ...
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I would add dBlueGlitch: http://illformed.org/plugins/glitch/
It is somewhat tamer than the Smartelectronix plugins. Meaning it's easier to control the amount of every effect that you apply, so you no longer have to rely on randomness.
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