What is your sound design process?

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Postby Immerse » Sun Mar 25, 2012 10:54 pm

bump
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Postby +3 » Mon Mar 26, 2012 4:19 am

All my sound design is at the effects-chain level.

I don’t make sounds/patches from scratch, or feel the need to. But the audio I do use is gutted. Flipped upside down, time stretched, pitch shifted, distorted beyond all recognition, etc etc… Personally I get more fulfillment out of what I can do/did to a sound, than having “made” one...
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Postby Immerse » Mon Mar 26, 2012 4:31 am

+3 wrote:All my sound design is at the effects-chain level.

I don’t make sounds/patches from scratch, or feel the need to. But the audio I do use is gutted. Flipped upside down, time stretched, pitch shifted, distorted beyond all recognition, etc etc… Personally I get more fulfillment out of what I can do/did to a sound, than having “made” one...

thats a cool take on it. i havent heard of anyone that strictly resamples :lol:
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Postby Attila » Mon Mar 26, 2012 4:34 am

+3 wrote:All my sound design is at the effects-chain level.

I don’t make sounds/patches from scratch, or feel the need to. But the audio I do use is gutted. Flipped upside down, time stretched, pitch shifted, distorted beyond all recognition, etc etc… Personally I get more fulfillment out of what I can do/did to a sound, than having “made” one...

This is how a lot of my songs are ending up. I initially spent hours upon hours making patches until i realized it was counter productive to what I was trying to do, so now it's more of a scavenger hunt than anything. The real fun for me is screwing the hell out of the samples I do settle on. I've seen so many people trying to make crazy growls and shit in FM8 and Massive while the best ones I've made (and some of the craziest I've heard personally) just come from me transposing, reversing, recutting and automating a sample of a fridge door shutting. I think a lot of people are too focused on making the whole sound from scratch in a softsynth when often the sound you want is sitting right in front of you (in my case the kitchen haha). Instead of finding tutorials on how to master vsts, I mostly watch sound design features from movies. It's a much easier and faster process overall if you know what you're looking for. That's mostly for the crazy stuff though, when it comes to melodic synths and stuff like that I cycle the hell through presets until I get something in the right ballpark, then i tweak it as quickly as possible so i can keep the focus on making a good song as opposed to making a meh song with impressive sounds.
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Postby MassAphekt » Mon Mar 26, 2012 6:54 am

Attila wrote:
+3 wrote:All my sound design is at the effects-chain level.

I don’t make sounds/patches from scratch, or feel the need to. But the audio I do use is gutted. Flipped upside down, time stretched, pitch shifted, distorted beyond all recognition, etc etc… Personally I get more fulfillment out of what I can do/did to a sound, than having “made” one...

This is how a lot of my songs are ending up. I initially spent hours upon hours making patches until i realized it was counter productive to what I was trying to do, so now it's more of a scavenger hunt than anything. The real fun for me is screwing the hell out of the samples I do settle on. I've seen so many people trying to make crazy growls and shit in FM8 and Massive while the best ones I've made (and some of the craziest I've heard personally) just come from me transposing, reversing, recutting and automating a sample of a fridge door shutting. I think a lot of people are too focused on making the whole sound from scratch in a softsynth when often the sound you want is sitting right in front of you (in my case the kitchen haha). Instead of finding tutorials on how to master vsts, I mostly watch sound design features from movies. It's a much easier and faster process overall if you know what you're looking for. That's mostly for the crazy stuff though, when it comes to melodic synths and stuff like that I cycle the hell through presets until I get something in the right ballpark, then i tweak it as quickly as possible so i can keep the focus on making a good song as opposed to making a meh song with impressive sounds.


eh...they do it to gain more control of the sound of it, I've practiced similiar methods with resampling and have got great results, but very random and sometimes not even on beat. but of course alot of chopping and carefully pasting would help but thatd be tedious and draining on your creative energy, plus those basses sound much better controlled imo, nothing wrong with your belief though bro
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Postby MixTheVision » Mon Mar 26, 2012 8:03 am

e-motion wrote:I rarely sound design while writing a song. I have sound design sessions separate from my writing sessions (because spending too much time tweaking a knob can kill the inspiration) that generate me a lot of patches or ableton instrument racks to use later.

Then, during writing sessions, I just load the patches/racks, tweak them and bang!

I may sometimes make a specific new patch that I think is what the song needs, but most of the times I load a patch I made before.


I like this idea. I totally feel you on the discouraging feeling you can get when trying to write new material while creating new synth leads, basslines, sound FX , etc. I will remember this. Have a writing session then have a sound production session. It's almost kind of what I planned on started doing and then I saw this. Great minds think a-like.
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