14
You'll probably still want to ground the sounds in real modern day engines, and then do a couple of things to make them futuristic:
1 - process the modern engines:
probably the simplest thing is eq - often doing a big midrange scoop makes things sound cleaner and more hifi, so that's an option.
You could also add some phase or delay to what's left (in ...
6
I like the idea that cars are quieter in the future. They are becoming more fuel efficient after all.
This was posted up on reddit today, it's interesting the difference just 2 years make in engine sounds!
5
You provide an interesting direction, that you could explore further:
Why not make all cars quiet? What's left is just the tire noise of the cars, which you could color a bit to make the cars a bit more diverse.
As a result, background sounds and atmos is more apparent, sirens stand out more but don't have to be as loud, the streets are more peaceful and ...
5
Sometimes you just need to put a bang on it! It may feel like it's not a weapon because we're so used to threatening weapons having a sharp initial sound. I'd add something like that, doesn't even need to be as distinct as a gunshot. Then back it up straight away (literally from when the trigger is pulled) with a friction type sound such as the one which ...
4
With complex sounds like that I think the best thing to do is break it into its component parts. What is the sound when it's still (if any). Trigger sound, firing preload, firing impact, texture or unique sound of firing, net leaving the gun, net through air, net landing.
For me if I breaking it down into smaller sounds is what can it a uniqueness that ...
3
In 30 years it is highly possible that most cars are electric cars. So I would go for muted motor sounds for a sound that everybody knows, combined with some kind of electric motor. Maybe record car sounds from a distance (Best would be in a very dry environment with some distance to get a more clean appeal) or rerecord stuff trough different materials to ...
3
Hi everyone and thank you very much for all these good advices.
This is how I finally made the sounds of futuristic cars i was looking for.
First I applied the technique of Rene, equalising sounds of real cars pass from the Sound Collector's club, except the synthesizer layer (not so trained manipulating it). I then applied a LoAir to generate subharmonics. ...
3
Ableton Live's M4L granular ensembles
MOTU MachFive has a granular module too
iZotope Iris, if you can stand the interface
For all three, press Record and start exploring.
Also, it's always a good time to challenge preconceptions of what "computer/tech sound" is.
2
To create a robotic voice quickly, the trick is to duplicate your voice, and move the second voice of an image to the right. Listen to the result.
Otherwise, the plug mentioned above are good. You can also use a vocoder.
2
My suggestion: focus on the performance. It's the one aspect of the sound that no piece of software can touch (or fix), so see if you can get 90% of the way there with your voice actor alone. These computerized voices all seem to have a layer of performance magic, whether it be a gentle clarity of the star trek computer voice or the sarcastic monotone of ...
2
S-Layer (and Reaktor)
(http://twistedtools.com/shop/reaktor/s-layer/)
Metaphysical Function, Skanner (also for Reaktor)
GRM Tools
SoundMagic Spectral
Metasynth
Camel Audio Alchemy ("the best sampler there is")
Perhaps even NI FM8 or Sytrus.
Too many ways to approach "computer sounds".
2
If the product is high quality, large enough in content and the price is less than what the bigger distributors ask, then I only see a marketing problem (i.e. letting people know that such library exists). You can set up a website/server for sharing it and Paypal/Google Payments/other for the payments. I think it's very easy to see how such marketing can be ...
2
Mortars tubes firing can work well as it is something big and heavy moving down a barrel at relatively high speed, very similar to what a net launcher would have to do. You probably then want to add a sound of the net flying through the air, but I'm not sure how I'd go about trying to get that component of the sound. You'd finally want it hitting the ...
2
Like others have said find the story behind the car sound.
If they are electric cars they don't have to be silent. There are actually laws concerning the sound (or lack of it) in Europe. http://en.wikipedia.org/wiki/Electric_vehicle_warning_sounds
Based on this you could play with the idea of cars just playing sounds of older combustion engine cars. Doing ...
2
Synths can be great for this stuff, although depending on which program is used, I have at times had difficulty getting the sound to not feel "synthy". I think I mentioned this in a thread a while back, but I'm a pretty big fan of taking other recorded sounds and processing them with different plugins like GRM and Sound Toys to get the results I want. Often ...
2
The sound you're looking for might be the audio illusion called a Shepard Tone.
Depending how they are made, they are a tone that seems to be always rising or falling in pitch.
1
you are going in the right direction - experimentation is the key. Also try and experiment with sample rate conversion - record any material you use at a very high sample-rate i.e. 192kHz and then use pitch changing to bring out different qualities of the audio.
1
Your gun sounds have a strong mid range. Maybe use some multiband compression to bring out the lows a bit more, but more importantly...
ADD TRIGGER SOUNDS.
That little click can add so much. What I really feel like your sounds are missing is that bit of mechanical high-end. It can be quiet, but it'll take the sounds to another level.
1
Bit-crushing is one way to make your "realistic" samples sound "retro". You should be able to find a free bitcrusher VST online. I am not familiar with FL Studio but it seems to only come with "Fruity Squeeze" which has mixed reviews online. So find a bitcrusher ("8-bit") effect and apply it to your samples.
1
If you're after something original then perhaps the obvious tools like synths and processors should take a back seat?
Try recording electromagnetic interference by hooking up a guitar pick up to a preamp and waving it (briefly and carefully) over all of the millions of electronic gizmos we all own. Makes some great sounds and won't damage anything if you're ...
1
I've used Absynth in the past for these types of sounds. Especially if you're looking for the musical/ evolving textures.
While probably too "standard" for what you're looking to achieve, I also really enjoy using Varun Nair's SigGen to create interesting telemetry elements
1
Just to add a couple of other suggestions: the SciFi bundled Pro Tools plugin would work to get the computerised 'twang' of Jarvis, if used in moderation, or even Adobe Audition has a 'Robotic' preset for the Echo effect, I think..!
1
Check out a YouTube vid on how they got the GLADOS voice sound for the game Portal using Melodyne. Should give you some ideas. Also if you check out the trailer for Pacific Rim you'll notice it there too!
1
I think it's an interesting question, I've definitely also found myself in that situation before - creating sfx with synths later to find they're clashing tonally with the music.
I think the fact that synths are aimed at musicians doesn't help us here. Think about it.. pretty much every synth is controlled by a keyboard, but as sound designers we ...
1
Doesn't look like anyone's said what I use specifically yet so here's another option for y'all.
Rattlesnake magnets - two small oblong magnets that buzz and sputter against each other when you throw them up in the air near, but not next, to each other.
Slinkie - take a standard slinkie and hang it from a height where it is just barely touching the floor. ...
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