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If you ever played a game like Half-Life without sound you will acknowledge this: the scare factor comes, at least in large part, from the sound effects. Monsters don’t really seem dangerous if they don’t make a scary sound.
Close the curtains and inform the neighbors, because in this tutorial we will transform your own voice into a monster you never thought you had inside you!
In this tutorial we will be looking into getting a little bit more out of Logic Pro’s Guitar Amp Pro plugin. We are going to bypass Guitar Amp Pro’s speaker cabinet and then load an impulse response (IR) for a different cabinet using Space Designer. If you’ve ever wondered what a Marshall amp and a Mesa Boogie cabinet recorded using a C414 in a great room sounds like, you’re in luck.
Synthesis can certainly be a daunting subject. There are a huge number of software instruments on the market now, many of which feature different forms of synthesis and varying styles of interface. To the beginner this huge choice and tech jargon may be slightly confusing, to say the least.
To help clear things up let’s start by taking a look at the ever popular area of subtractive synthesis and how to create a basic effects patch. I will show how the patch is made and explain each step and also recreate the sound using some instruments from popular DAWs. Obviously the recreations may not be exactly the same as the original patch but they should show that any synth can be used to create a good range of sounds.
In dance music genres such as house, the bass plays an important role - in many cases being the key to a successful track. This depends not only on the bassline arrangement but also on the texture of the sound. The character of this instrument must fit with other components, that create - in this case - a complete soulful or funky house track.
In this tutorial we’re going to dive into the crazy world of impulse responses and convolution reverbs. You’re going to see how modern software reverbs are no longer just for simulating spaces, they can also be used for anything from speaker simulations and equalizers, to powerful sound design tools.
A synthesizer is an electronic instrument that reproduces a variety of sounds by generating and combining signals of different frequencies and waveforms. Propellerhead’s Reason features various forms of synthesis, and it’s often difficult for the user to decide which synthesizer to use.
In this tutorial, we’re going to explore the art and the science of synthesis, as well as discuss how Reason’s synthesizers can be used, and in which situations you should use them.
Although Arturia’s Jupiter 8V admittedly isn’t a free synth, it is arguably one of the best analogue emulations on the market. If you are thinking about investing in a soft synth you could do a lot worse than picking up a copy of the 8V.
Not only does the synth faithfully emulate the original Jupiter 8’s signature sound but its interface is also a great representation of the hardware. Arturia have not stopped there though, they have added some clever extensions of the original synth’s abilities allowing you to create sounds that just weren’t possible on the original instrument.
Absynth is one of my favorite tools for sound design, though I don’t get a chance to use it nearly as often as I’d like. It has an extremely deep and flexible synthesis engine, yet remains accessible and fun to work with. In just a short amount of time you can have a unique, original sound to use in almost any musical or sound design application.
In this tutorial, we’ll be working exclusively inside of Absynth 4, creating a synthetic mechanical sound by using Absynth’s amazing breakpoint envelope system.
The drone is used throughout music and sound design as sonic bed or background upon which other sounds are laid. In the world of sound design, drones are often used to ‘fill out’ a scene, or to provide a sense of location. For example, if the scene occurs in a swamp you may have a background ambience that includes frogs, wind through the trees, splashes, etc. In this instance, the ‘drone’ would likely be the wind, with the rest of the layers as incidental sounds.
As with many sound design techniques, there are an infinite number of ways to create compelling creature sounds. However, as with all sound design, the best products generally result from great source material. Starting with your own recordings of animals and humans means that your product will sound unlike anyone else!
In this tutorial we’ll look at a few simple techniques that can be used to create interesting creature sounds with a wide variety of uses. We’ll use Sony’s Sound Forge (we’re using version 8.0) and some of the built-in effects to create these sounds.
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