Anybody know any cool sound design tricks?
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- KVRist
- Topic Starter
- 110 posts since 25 Sep, 2018
Been messing with granular and all the ableton warp modes, looking for new ways to create some interesting sounds, anybody have any suggestions?
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- KVRian
- 527 posts since 28 Oct, 2014
Try extreme noise reduction. That has always been a favourite with me.
SF noise reduction 2
Reafir
Mtransformer
Set block size (or buffer size, whatever it's called) to something high like 16k, and run some vocals through it.
Fine tune the draw graph for some proper spooky effects
edit:
oops, mustn't forget DTBLKFX (try and find the version without the popup sliders, if you can)
SF noise reduction 2
Reafir
Mtransformer
Set block size (or buffer size, whatever it's called) to something high like 16k, and run some vocals through it.
Fine tune the draw graph for some proper spooky effects
edit:
oops, mustn't forget DTBLKFX (try and find the version without the popup sliders, if you can)
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- KVRist
- Topic Starter
- 110 posts since 25 Sep, 2018
Cool, i'll check this out and look into those plugins as well! Thanks
- KVRAF
- 5131 posts since 22 Jul, 2006 from Tasmania, Australia
modulating filter cut with low-passed noise is fun
-it can be real liquidy
-it can be real liquidy
- GRRRRRRR!
- 15847 posts since 14 Jun, 2001 from Somewhere else, on principle
Random stuff. An LFO using sample & hold applied here and there, just to make things more interesting over time. My host also has a "humanise' function that randomises velocity quite nicely. Little things that make it sound slightly different on every note.
NOVAkILL : Asus RoG Flow Z13, Core i9, 16GB RAM, Win11 | EVO 16 | Studio One | bx_oberhausen, GR-8, JP6K, Union, Hexeract, Olga, TRK-01, SEM, BA-1, Thorn, Prestige, Spire, Legend-HZ, ANA-2, VG Iron 2 | Uno Pro, Rocket.
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- KVRian
- 1058 posts since 3 Oct, 2011
Some FFT based processing might be worth exploring. Unfiltered Audio SpecOps is pretty userfriendly and has enough tooltips that you've got some idea what you're actually doing without having to go back and forth between the plugin and manual constantly, making it a great and fun place to start I'd say.
- KVRAF
- 2147 posts since 30 Oct, 2006 from Australia, NSW
Try editing like this
https://www.youtube.com/watch?v=YVY7yXFOpow
https://www.youtube.com/watch?v=YVY7yXFOpow
http://www.voltagedisciple.com
Patches for PHASEPLANT ACE,PREDATOR, SYNPLANT, SUB BOOM BASS2,PUNCH , PUNCH BD
AALTO,CIRCLE,BLADE and V-Haus Card For Tiptop Audio ONE Module
https://soundcloud.com/somerville-1i
Patches for PHASEPLANT ACE,PREDATOR, SYNPLANT, SUB BOOM BASS2,PUNCH , PUNCH BD
AALTO,CIRCLE,BLADE and V-Haus Card For Tiptop Audio ONE Module
https://soundcloud.com/somerville-1i
- KVRAF
- 3461 posts since 24 Oct, 2000 from A Swede Living in Budapest
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HARDWARE SAMPLER FANATIC - Akai S1100/S950/Z8 - Casio FZ20m - Emu Emax I - Ensoniq ASR10/EPS
HARDWARE SAMPLER FANATIC - Akai S1100/S950/Z8 - Casio FZ20m - Emu Emax I - Ensoniq ASR10/EPS
- KVRian
- 664 posts since 1 Jan, 2018
Passing your sound through a saturation/distortion effect and then mixing it with a phase-flipped copy of the dry signal will give you "only the fuzz," which can be useful sometimes. I'll use it to transform percussion into something with more bite, or to get just a ghost of a bassline.
Note that if you want to completely eliminate the dry sound, this almost always requires some adjustments for gain-matching, either in the output stage of the saturation or the inverted dry signal.
Note that if you want to completely eliminate the dry sound, this almost always requires some adjustments for gain-matching, either in the output stage of the saturation or the inverted dry signal.
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simon.a.billington simon.a.billington https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=341278
- KVRAF
- 2365 posts since 12 Nov, 2014
Subtle, but quick pitch bend information at the start of hard struck orchestral notes adds a bit of more dynamics and snap. This is because striking a note harder will always sound slightly sharper initially.
It’s not really sound design, but it’s a trick that can be used when putting productions together. Not sure if Warp is capable of this, though.
It’s not really sound design, but it’s a trick that can be used when putting productions together. Not sure if Warp is capable of this, though.
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- KVRian
- 1189 posts since 11 Jun, 2019
What do you mean with "interesting"? I´d recommend to really get into your Tools Potential and if you feel that somethin is missing dig a little deeper, try Layering and FX chains or get a Sampler!°
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- KVRist
- 469 posts since 21 May, 2016
Ohh thats neat. Never thought of that, thankscthonophonic wrote: ↑Sun Apr 07, 2019 9:46 am Passing your sound through a saturation/distortion effect and then mixing it with a phase-flipped copy of the dry signal will give you "only the fuzz," which can be useful sometimes. I'll use it to transform percussion into something with more bite, or to get just a ghost of a bassline.
Note that if you want to completely eliminate the dry sound, this almost always requires some adjustments for gain-matching, either in the output stage of the saturation or the inverted dry signal.
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Hermetech Mastering Hermetech Mastering https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=7418
- KVRAF
- 1619 posts since 30 May, 2003 from Milan, Italy
1) Frequency Shifter in the feedback path of a Delay. Very small shift, lets you crank the regen way higher than normal, for a very trippy effect.
2) Compressed vocal in the mix, but send the the uncompressed signal to the reverb and mix that in with the compressed vocal, reverb swells when singer belts it out, but actual vocal stays at a stable level. Or reverse that, so reverb swells when singer quiets down so it seems they move further away etc.
3) Split any signal into different frequency bands, process each band with something different, then mix them back together.
4) Turn a Stereo signal into its Sum & Difference components, process each separately, then encode back to Stereo. I used to do this with my my modular synth, if you have the Sum going through some crazy Envelope LP filtering, and the Difference being slowly modulated with a HPF or Frequency Shifter, then some REALLY crazy shit happens when you encode back to Stereo. Great on a whole mix if you want to get freaky and experimental. Days of fun.
5) Advanced feedback paths containing many elements (sound generators and sound processors in a crazy interconnected loop).
The sky's the limit with a modular host, just gotta think outside the box, and try things out.
2) Compressed vocal in the mix, but send the the uncompressed signal to the reverb and mix that in with the compressed vocal, reverb swells when singer belts it out, but actual vocal stays at a stable level. Or reverse that, so reverb swells when singer quiets down so it seems they move further away etc.
3) Split any signal into different frequency bands, process each band with something different, then mix them back together.
4) Turn a Stereo signal into its Sum & Difference components, process each separately, then encode back to Stereo. I used to do this with my my modular synth, if you have the Sum going through some crazy Envelope LP filtering, and the Difference being slowly modulated with a HPF or Frequency Shifter, then some REALLY crazy shit happens when you encode back to Stereo. Great on a whole mix if you want to get freaky and experimental. Days of fun.
5) Advanced feedback paths containing many elements (sound generators and sound processors in a crazy interconnected loop).
The sky's the limit with a modular host, just gotta think outside the box, and try things out.
- KVRian
- 643 posts since 17 Aug, 2015 from Finland
I experimented with slapping a ring modulator on a speech sample once. Turns out it works as a wonderful "sound quality retroifier".
My solo projects:
Hekkräiser (experimental) | MFG38 (electronic/soundtrack) | The Santtu Pesonen Project (metal/prog)
Hekkräiser (experimental) | MFG38 (electronic/soundtrack) | The Santtu Pesonen Project (metal/prog)