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6

Your question is a bit related to another question that I just answered, so at the risk of being a bit tangential, I'm posting below both the question and answer. Hope you get something out of it, in any case. Q: Is the emotional response to sound universal or does the way we perceive and interpret acoustic stimuli vary from one person to another? Do ...


3

Well I've tried to come close : I used reaper, Izotope Trash 2 for saturation and Izotope Ozone 5 for multiband compression. 1. pitch shift - 3 semitones 2. Cut some low freqs with EQ 3. Izotope Trash with these settings : http://i.imgur.com/Sd5k2lq.jpg 4. Izotope Ozone with these settings : http://imgur.com/a/6RC4G You ...


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I use those two things on the side of my head. You should too.


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This is simply the way that the brain processes sound information. It's exactly the same as listening to a violin in a dry anechoic environment and then listening to the violin in a concert hall. You still know it's a violin because the brain is able to separate the fundamental sound from the additional reflections in the room. It's the same with distortion ...


2

I have just seen the following article where this sound effect is mentioned (http://www.latimes.com/entertainment/envelope/la-en-craft-star-wars-sound-20160204-story.html). It is interesting to note that the dialogue was recorded with two mics: one in the helmet itself and the other on the chest. Clearly the timbre of the two recordings will be different, ...


2

On the first one I think it is actually a combination of two sounds. I think it may be a clean bass with the synthesized higher/mid sound being imposed over top of it. The same electronic instrument seems to be used in higher octaves later in the first song. There is also some volume pulsing with the beat to give it that added punch I think you are ...


1

I recorded an installation foyr the national gallery that was designed to portray a Gaugin painting in sound, I ended up talking to a few people with synaesthesia and asking them which pitches related to which colours. Again, it's completely subjective, every synaesthete will experience this differently, but it does give you a point of reference for a sound/...


1

I have different tricks depending on the context, but a good place to start as you mentioned is EQ. Removing what is unnecessary or in the way and emphasizing the qualities. Pitch also goes a long way to help morph sounds together. For creature sounds, I to use melodyne quite a bit. For example I'll have two distinct sources... one a horse, the other a ...


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You can go and check the IRCAM Tool : TRAX. They are a French Sound Research Center, and they created some pretty powerful plug-ins lately. http://www.fluxhome.com/products/plug_ins/ircam_trax-v3 Cheers Ben


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Practicing proper editing/cutting of audio samples improves heavily the skill you are looking for. Try for example to cut a speech (high quality, speaking your language) into its smallest parts. Try to separate the consonants from the vowels. This way you have to zoom into the waveform very deeply (see the describing shape of a particular sounding), until ...


1

When recording, each "timbre," in the sense that you're using of, instrument or voice, is generally recorded to a separate track so adjustments can be made to each individually in a software that looks a lot like audacity... HOWEVER Once adjusted and prior to the music being released, all the individual tracks must be "mixed down" into usually a stereo ...


1

I think the quote is misleading. Let's say you want five different MIDI violin parts to play, all with the same violin sound. You would normally have five different MIDI tracks, each with their own mixer channel to process both MIDI and audio data (so five channels - sometimes called instrument channels or instrument tracks), and all the five channels would ...


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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 ...


1

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 ...


1

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 ...


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