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5

Alternative if you have the time and means: Worldizing.


3

Squeezing bags of corn starch sounds a lot like walking in the snow.


3

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.


3

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 ...


3

Yep Futzbox is pretty good. Don't be afraid to try to emulate things yourself using EQ, distortion, and the Lo-Fi plugin that comes with Pro Tools. I have to admit that Speakerphone is amazing though!


3

McDsp Futzbox? Sale on at the moment $150. Ends tomorrow though so be quick!


3

That sound is (probably) a VST Instrument or synth. From the sounds of it, it could have been created from the Nord Lead 3. A similar sound (but obviously higher pitch) is present as the main lead on Yeah Yeah by Bodyrox feat. Luciana, which was created with the Nord Lead 3. Take a look here for how that was created. Hope this helps, good luck.


3

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


2

Agree with the corn starch, but adding a bit of rice gives a nice crispy texture as well. Also, adding dishwasher salts can give this texture. Manipulating it with your hands rather than feet gives you more control over the sound. Cheers


2

To get a slushier sound, do what Nick said above, cornstarch in a pillowcase but make the mixture 50/50 cornstarch and birdseed.


2

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 ...


2

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 ...


2

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.


2

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 =)


2

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. ...


2

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 ...


2

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/...


1

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, ...


1

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 ...


1

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.


1

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.


1

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 ...


1

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 ...


1

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 ...


1

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 ...


1

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 ...


1

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


1

"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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