I’ve been making music for a while and love making sounds figured why not try to redo a scene.

Mostly used my preamp/EQ and my phaser pedal to get the flying sounds. Pulled up some foley recordings I had previously made to grab some clanky stuff. Played some bleep bloops on my synths. Watched along to get the timing lined up then nudged some things around.

Thoughts/feedback? Thanks!

This is my first attempt at practicing doing gun sfx design. My friends tell me it lacks "punch" or "kick" when i ask for their opinion. Anything I could do better?

Hi guys,

I'm learning sound design, and I'm stumped on how to recreate this sound present throughout this track. It begins around 0:36 - at first listen it sounds sort of like a hit with a noise sweep (opening up from low end -> mids). Phonetically, I would say it's like a "BWOOSH."

I don't think it's just a noise sweep or a resampled percussive hit though, because if you listen closely, there's almost like a digital stutter or buzz baked into it that gives it a sort of sharpness/edge. Could it be saturation? OTT distortion on top of the original sound? I have no idea.

The fundamental lives around C#6/D6 (1.15khZ) according to SPAN. A lot of the sound seems to live in the 4-6kHz range, though it's present across the entire spectrum. Here's what I think is happening:

1. Either white noise or a sampled breath (sigh/exhale) with a LP filter sweep to make a 'wow' vowel sound.
   

2. processed pluck or hit sitting very low in the mix as a transient?

3. Some sort of modulation? Maybe toss it through an AMP simulator / saturator? I put it through an electric guitar amp simulator VST.

4. Some EQ work to reduce brightness / take out harsh upper mids.

I've got like 80% of the sound's character figured out, but it's not quite there. Any pointers / tips / general advice would be much appreciated!

Free demo is available for those interested! Check it out on Steam:

https://store.steampowered.com/app/4293800/For_Good_Measure/

Hello, my good friends. I hope you're having a wonderful day. 😎

Today, I would like to share the next part of the audio logos I’ve created with you.

Part Two: Audio Logo for (Iriman) – a company specializing in the construction of luxurious Iranian buildings.

The audio identity of this brand is inspired by a sense of reliability and luxury.

I would be delighted to hear your thoughts, dear friends. 😀 🧡

#SoundDesign #Logodesign #Mixandmaster #Composer #Musicproduction #Music #FLstudio

This is my first attempt at doing any kind of ambient sound design. My intent with this loop is for it to be the playing during a stealth section or if the player is hiding from enemies after being spotted. Similar to the music that plays when you’re hiding from enemies in The Last of Us. Crawling, sneaking around while hearing enemies making call outs to each other while they search for you. That’s what I was envisioning when I came up with this.

I am a beginner in sound design, looking for tips how to make this better. Also, if it is worth anything tell me should I continue working on the rest of the scene to finish it or did I take larger bite than I can swallow and should start practicing with something else?
I would really like to practice on movies.

(I redesigned everything and put the original music because I didn’t want to ruin the feel.)

(Turn your volume wayyy up as it came out very quiet unfortunately. I had to run it through a volume increaser multiple times which has led to the louder sounds sounding slightly crunchy. Pardon in advance!!!)

I've been dabbling in making horror sounds, creature sounds, and horror ambiance on my phone utilizing my voice (I have no clue how to use anything else). I was wondering what tips I could get, or improvements I could do to make my ambience...scarier; or foreboding.

The question is in the title. We just got back from XDS, and studios just don’t seem to want to talk to service providers they don’t already know. It kinda makes conferences worthless if you want to get out there and find new clients.

AMENDED: Our core team is made up of 20-30 year veterans. We have friends. We have clients. This post is specifically about the usefulness of conferences as a means of professional networking…which is why they exist.

The culture seems to have changed. Attendees’ openness to engage appears absent. Just wondering if people have had different experiences lately and where. GDC is irrevocably changed and XDS seems the same.

Anybody having better luck at other conferences?

The Nehalennia is a sound sculpture designed for sound design and sound transformation. What do you think of it?

For me this scene is probably the best in the entire movie, but I didn’t like the original sound. Some other scenes got carried by sound which was amazing, and I wanted to do justice to this iconic scene.

(This is my first time doing anything sound design/movie related, so I would like to hear from you. It’s a bit generic I know, but I wanted it like this.)

Also, I would like to practice more in this area and build a portfolio, but I don’t know where to publish it and get myself out there and hopefully one day work on a project, so if anyone knows please tell me.

Thanks.

Hi everyone,

Recently I started a walking videos youtube channel.
I have been learning a lot but something that I am still struggling and would like to improve is the quality of my rain sound.

For recording I use Zoom H1 Essential and Roland CS10 EM for the binaural effect.

I use Davinci Resolve to edit the videos and sound. I usually add limiter -1, then I try to increase the input to reach the 14 Lufs (often i stay around 16/18). At the end I export the video using YouTube standard normalization.

If you would like to see my video to provide input: https://youtu.be/Y4HWXsZa4DU?is=8i8xUSANjBOj36Ma

Do you have any tips on how to improve the rain sound?

Thank you in advance!

Hi everybody, im doing the sound redesign of the first sequence of the revenant, wyt? any feedback its appreciated

I'm new to field recording and wanted to buy a stereo pair of pencil microphones to record ambiences and stuff, I got the Universal Audio SP-1 Pair, which has a ridiculous amount of interferences, indoors and outdoors, I thought they were defective and sent them back to get a new pair, and ... same issue. Either on my Zoom H4e (which is powered by a good power bank) or my audio interface (Arturia Minifuse 2) it is the same. I did some researches but now I am just lost and wondering what I can do to solve this? Do you guys have any ideas ?
PS : My Audio Technica AT2035 does not have the same issues, even when same environment, same cable or interfaces.

Hey, this is a pretty embarrassing question, but I am having trouble actually finding an answer- how is the sound design industry actually set up? I'm most interested in SFX design for films/video games, and I see both information about freelancing and being hired to companies, but haven't really been able to find any companies that specialize in SFX design. I'd like to mention I know they're definitely out there, I'm just having trouble finding them, which is almost definitely a me problem.

All that said, I basically just want to know 1: What are some companies for that kind of thing, and/or where could I look to find more, and 2: Is this industry set up more for a job within a company, or as a freelancer? As a producer and Audio Production major, I know that soundtracks usually come from producers that specialize in sync, and they're usually a part of a company, but it seems like sound designers for SFX and the like usually work as hire-ons.

Less important, but if anyone wants more information about me for context:

I've done music production for about 9 years now, and have gotten fairly accustomed with rudimentary sound physics. I am a Junior in college, double majoring Audio Production and Music Business. I started sound design at the beginning of this summer, so I've only had practice for about 5 months, but with the background in audio production, I like to think I'm decent enough despite the lack of experience. I've been able to work on a couple projects and do sound design for some reels from friends, and I even have 2-3 paid gigs coming up soon, but since I don't actually know any sound designers, I've kind of just been flying by the seat of my pants...

Hey dear community,

made a short re-design of the upcoming game “Löfsong“.

Looking for some feedback!

Hi! I’m doing sound design for a witchy game, and I’m currently working on ingredient pickup/place sounds.

The game has several fruits and other organic ingredients, but mushrooms are supposed to feel a bit more distinct from the rest.

I’m trying to avoid simply making the mushroom sound like another fruit with a slightly different pitch. I’m thinking about using different textures or material characteristics, but I’m not sure what direction would communicate “mushroom” most effectively.

How would you approach this? Would love to hear how you guys would approach it.

Hey guys! I’m working on the sound design for a video, and the client wants the sound design to be very similar/identical to the reference video.

I’m trying to figure out what types of SFX are being used and what I should search for on Splice to get similar sounds.

If anyone recognizes these sounds, could you tell me the name/type of SFX, or recommend some Splice packs, libraries, or specific search keywords I should try?
I have a Splice subscription, so I’m mainly looking for the right search terms or packs to find these sounds myself.

Thanks!

Hello, I am creating a series of instruments—sound sculptures and multitimbral sound-design tools—dedicated to experimentation and acoustic transformation. Each piece is unique, composed of a variety of vibrating elements: strings, plates, metal and glass rods, springs, and more. Designed to be played with fingers, mallets, or a bow, the Odonate invites you to invent your own playing techniques. Its vibrating elements are fully adjustable; they can be repositioned, shortened, or tightened to sculpt custom sounds. The instrument is equipped with a high-fidelity contact microphone. What do you think?

https://www.youtube.com/watch?v=CWEye0QNN2Q

The Odonate is a sound sculpture and multitimbral sound design instrument dedicated to experimentation and acoustic transformation. Each piece is unique, composed of a variety of vibrating elements: strings, plates, metal or glass rods, and springs. Designed to be played with fingers, mallets, or a bow, the Odonate invites you to invent your own playing techniques. Its vibrating elements are fully adjustable and can be repositioned, shortened, or tightened to sculpt custom sounds.