Sounds like a fun challenge!
Flour is soft, not coarse like sugar. Maybe very soft, pillowy sounds would be good to add: Impacts into pillows, cloth hits, maybe even foley of things being dropped into talcum powder or flour itself (guaranteed to be messier than any liquid, though). Maybe even experiment with snow foley?
I think I can hear at least two if not more layered tracks of vocals. I would have to disagree about the EQ settings. There is a lot of hi-mid and very little low mid. I'm not 100% sure but I think there might be some pre-reverb there. To do this, you reverse the track, add reverb and reverse it back. It usually tames me a few tries to get the results i want....
Paulstretch is great for creating long, evolving textures and drones out of anything. Guitar riffs work incredibly well if you want a place to start.
Logic also has a convolution plugin called Space Designer, great for convolving two sounds together.
An interesting combination you can try out is having the sound of fire crackling be your source audio and a ...
Andy Farnell has a fantastic book called Designing Sound, which details theories of designing procedural sound effects, with methods in Pure Data. Here is a great quote from his practical on Electricity:
The sound of a spark in an anechoic chamber is almost an ideal impulse
(which is why spark gaps are used to do impulse captures), so the
sound of the ...
Karplus-Strong synthesis is awesome! Really great way to get a semi realistic-feeling yet synthy pluck, modulating the delay time gives some super weird and cool effects. I use it a lot in SuperCollider, I guess it's theoretically possible with analog gear but it requires a very precise delay/feedback loop to get accurate pitches that the digital world seems ...
Although I'm not a synth guru, I think this is a really cool synth for many reasons. First it has a spectral unit to control the timbre of the sound. The "rand" object allows you to control the timbre to get say a sharp sound at 20,000, or a smooth sound at 10. Second, it has an adsr component you can use to control the sound envelope. I put a lowpass filter ...
The sound reminds me of Roland synths. I have a vague memory of a friend with an old Juno that had a patch like this. I can sort of mimic it with my DX7. The key is that there should be some high pass filter opening as part of the attack envelop (if you are using subtractive synthesis).
For FM, if you start with a decent brass patch (has some internal ...
its a trumpet sound with some sort of damping/volume reduction, maybe even a compressor... easily achievable in any synthesizer that has a trumpet preset on it. It might even be sidechained to the pad or beat. Try these ideas out and get back to me if nothing works.
Thanks everyone for your responses :)
Yes, it's a fun challenge.
I used cloth hits with an LPF and snow avalanche with an EQ, to have the texture. And I'm pretty happy of the result.
For the voice of the monster, I tried to use the granular synthesis, but the result is not really the way I want.