Krotos Audio

Synthesis In Sound Design With Krotos Concept

Concept is a brand new soft-synth that offers a simple and intuitive workflow for creating massive basses, moving pads and screaming leads, but today we are going to explore other ways of using this software – we’re going to use it to create sound effects.

Throughout this blog post, I am going to demonstrate a couple of examples of sounds that you can create using Concept such as user interface elements, Sci-Fi weapons or cinematic effects. All of the created patches will be available for you to experiment!

The ‘BOOJ’

Modulated bass drop, also known as a BOOJ is a staple of cinematic sound design. In essence, it’s a low note continuously falling in pitch with a tremolo effect applied. For this one, we are going to use the Envelope mod. Set your ADSR to long Decay and no Sustain and set a long Attack in the Envelope mod. It should look like this:

Now, let’s start modulating parameters. We’re going to need a falling pitch effect, so let’s add Detune to our mod.

P.s. in my example, I am using two oscillators, one being a blend of sawtooth and triangle waves and the other one combining a sine wave and white noise but you can use whatever you like.

You should hear the pitch fall now, but we’re not done yet!

Let’s add a Ring Modulator to the FX chain and modulate the FREQ. In the sound we want, the frequency of the tremolo will be falling down.

Now let’s add some finishing touches to make the sound more interesting. I added a Flanger, Saturation and modulated the Cutoff of the main filter so that the frequency is “chasing” the falling note. The whole patch looks like this:

And here’s our final sound:

Nice thing about those kinds of sounds is that by small tweaks you can get a really large variety of them. I made a second patch that differs only in addition to falling FM synthesis, and the sound has already changed significantly and sounds like something out of some kind of a Sci-Fi droid movie.

WHOOSHES

Creating whooshes is one of the most common sound design tasks. Let’s look at how you can use Concept to design organic windy whooshes.

There are a few key elements to this. First, select the white noise generator as your sound source. We will also be using XY Capture to “draw” the whoosh parameters.

We will want to assign different parameters to different axis of the XY Capture so we can move the puck in a kind of a triangular way to create a whoosh.

Assign the Pan to the X-axis and use the full modulation range so the whoosh will move from speaker to speaker.

Assign the Gain and filter Cutoff to the Y-axis so the whoosh gets louder and richer-sounding the higher you move the puck.

Now you can play a sustained note and either perform your whooshes in real-time or use the XY Capture feature and create a looping modulation shape. It’s up to you!

I’ve also added some very light tremolo effect, a flanger and added some reverb. Making parameters of those effects react to the XY capture is a nice way of making the whooshes more interesting.

The end result sounds like this: UI SOUNDS

Synthesis is a great way of getting sounds for a futuristic user interface. To make our own, we are going to look at some creative ways of using Delay modulation in Concept.

This preset is going to be based on a very short Envelope mod. Something around 145 milliseconds of Attack will do.

We are going to use both of the oscillators and move them a couple of octaves away from each other. The choice of waveforms is entirely up to you but I do recommend using FM synthesis to add metallic overtones. We are also going to modulate the Detune in both. My oscillator bank looks like this:

We are also going to use the filter and make it very resonant.

The decay of our ADSR is slightly longer than that of the Envelope mod.

If you play some notes in the high register, it will already sound like a UI beep. Let’s make it more interesting by adding some Delay modulation.

Add the Delay effect and make sure that it is in Sync mode. This type of delay has only a couple of set time values and it has to jump between them when we modulate them, creating interesting glitchy effects. We are going to use this to make an underlayer of short glitches that will make our sound more SciFi.

You can determine how much of this layer you want by changing the Feedback and Mix values. With higher Feedback, the sound will change into a more of a startup sound.

The effect is subtle because we are using a very short Envelope mod. If we’d have increased it’s length and turned up the delay mix of the reverb, we’d get a glitchy droid sound!

PLASMA CANNON

We are going to revisit the approaches we used while making the Booj and use them in a different situation and also see what we can achieve by layering sounds made in Concept.

We’ll be making sound for a Sci-Fi plasma cannon that charges up and emits a massive blast of energy. We’ll definitely need more than one sound for this so let’s take this step by step.

1. Charge

We’ll make a sort of a reverse Booj by ramping up the pitch and the modulation of the sound to create a feeling of gathering energy for a discharge. Let’s create a long Envelope mod and add parameters from the oscillators bank so that they are ramping up.

Now let’s add a Ring Modulator, the same as with the Booj but this time, let’s make the frequency of the tremolo go up.

This is the essence of the sound. Add any other modulation you think would make it more interesting and we’re done with the first part!

For my charge I also created an additional layer that uses different waveforms and FM synthesis ranges, modulated noise to create a “mech” layer and create a very simple sub layer by taking the modulation we described above and selecting a sine wave as the only source.

As long as you keep the Attack and the frequency of the tremolo the same, they will sync perfectly.

2. Blast

A really short, snappy blast layer that goes right before the discharge is a nice way of adding cadence to your sound. The preset 808-ish KICK in Concept works for this very well. You might want to add a Transient Shaper to give it more punch.

3. Discharge

To make the a discharge sound, I flipped the modulation that was present in the charge-up by setting a minimum Attack and increasing the Decay. This way the sounds are still quite similar and create a feeling of fitting the same style. I experimented with the Decay times to see what would make the discharge sound aggressive and snappy.

The full cadence sounds like this:

We’d probably be using some additional content from Weaponiser and Reformer by adding some real-world gunshots and gun handling Foley to add to the believability but the essence of the sound is here!

Summary

As you can see, we are using one modulator to achieve the desired effect and I do think that with those types of synthetic sounds it is much more important to choose the right parameters to modulate and make that one modulation interesting than use a lot of different modulators. If you’d like to increase the variability of those sounds, you could use any other modulator as a kind of a secondary mod, that would make slight changes to parameters to make them more varied.

Those were just a couple of many ways in which you can create sound effects inside Concept. If this has sparked your interest, then head on to the product website, where you can check it out with a free demo.

I hope this inspires you to make some noises!

Download Presets

To use the presets discussed in this blog post, drop the files to:

Mac: Users/(user)/Libray/Application Support/Krotos/Concept/Library/Presets/main

Windows: (root)/Users/(user)/AppData/Roaming/Krotos/Concept/Library/Presets/main This will place the presets in your User Presets folder so you can experiment with them at your own leisure.

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Concept

Concept

£118.80 £91.20 Demo Concept

Download a free demo of Concept to follow the tutorial with the downloadable presets.

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The post How to use Krotos Concept for Sound Design & Cinematic Effects appeared first on Krotos.

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Concept ‘How To’ Video Showcase How to add wobble to a bass track using Audio Input

Stimulate new ideas by performing and modulating with any input or instrument. Use elements from your mix to create dynamic rhythmical patches, or use the pitch follower to create exciting interactions with existing melodies.

In this video we showcase how to add dynaimc wobbles to your drum track using Concept’s Audio Input feature.

How to add variation to your settings with Tweak It

Tweak It is Concept’s ‘controlled randomisation system’, allowing you to add variation to your settings within certain ranges for your chosen parameters. Create variations of your patch with a single click, with results ranging from musical to complex!

How to control rhythm & add movement using XY Capture

Learn how Concept’s XY Capture can be used to control your rhythm, add subtle movement, or create totally wild glitches!

X/Y Capture is a feature in Concept that allows you to draw your modulation movements within an X/Y field. Capture patterns for any combination of parameters and sync the results to your projects tempo. Create unique sounds and melodies in an instant.

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Richard Devine on creating presets for Concept and using Krotos software in CyberPunk 2077

Concept preset creator Richard Devine is an award-winning sound designer and electronic musician. His music, characterised by complex rhythms and heavy use of DSP, gained popularity after remixing Aphex Twin‘s “Come To Daddy”. Making his debut in 1995, Devine has released music on labels including Schematic, Warp Records and Detroit Underground.

We had the opportunity to catch up with Richard about his contribution to Concept, his background and love of synths! Read the full interview below and hear some of his Concept presets in action.

Hi Richard, thanks for your contribution to Concept and for taking the time for this interview. We’re curious to find out a little more about your background. What was growing up in Atlanta like, and how did you get into music and sound design?

Hi Krotos! I would say I got into sound design sort of by accident in 1998 when Native Instruments asked me to contribute samples and presets for many of their first virtual instruments. I had no idea that working for them would eventually lead to much more work in the fields of TV/Games/Movies and other projects.

As far as music goes, I got into making music back in high school. I started out buying lots of records in the early nineties, djing at early rave parties around 1992. I was fascinated by the idea of creating my own music so I began building a studio shortly that year after. I have since released 7 albums and continue to make music and work as a sound designer for Google today.

We’re curious about some of your early influences, was releasing your first full-length on Warp an aspiration of yours?

I would say early on it was the work of composer’s like Morton Subotnick, Stockhausen, and John Cage. Then I eventually discovered the work of Warp Records and Aphex Twin. This was a big turning point for me. I knew that I wanted to create this type of music but with my own personal twist on things. I dreamed of releasing music with Warp, and that dream came true when I gave Autechre a demo copy of my tracks, which eventually lead to Warp releasing my first full length album in 2001 “Lipswitch”

You work in both the sound design and music fields, do you get more job-satisfaction from either aspects of your career?

I would say for me it’s equally satisfying doing both, as each process is interrelated related to creating something in the end. It’s like making the Lego pieces first then assembling the parts into a bigger picture.

Are there any highlights from a recent project you’ve worked on?

I think one of my favorite recent projects was designing sounds for Jaguar’s new I-Pace electric vehicle. I was responsible for creating all of the in system navigation sounds as well as the interior and exterior EV motor sounds. It was one of the most challenging jobs I have ever encountered.

You’ve been using Krotos software for a while now – how do you incorporate our sound design software into your workflow?

I use almost all of the Krotos software for many of my projects. I worked on the CyberPunk 2077 game earlier this year for CD Projket Red. I used Reformer Pro and Dehumaniser 2 for many of the sound effects in the game. Krotos make such great tools for building sonic gestures quickly. I love the UIs and built in libraries are wonderful. It’s perfect for people like me who need tools to give them results very quickly that is of high quality.

You contributed a fantastic selection of presets for Concept and you’ve had a chance to fully explore the soft-synth. What do you like most about Concept?

I love the interface and the modulation options they present in the plugin. I really fell in love with the X/Y automation mode. This spoke immediately to me, as one of my favorite plugin suites from back in the day was Hyperprism for Mac OS 9.2. Now long gone, but the idea is similar in Concept in which you can record automation gestures within a X/Y field then apply that data to effects/synthesis parameters. It’s so great to see this here.

Could you tell us some more about the presets you made for Concept? What process did you go through to achieve them?

I tried to make some presets that showcased some of the unique features of Concept but at the same time give users some interesting sounds that would work in any musical context. I love the use of cross modulation of the built in oscillators. I tried to create a variety of stuff that would hopefully be an inspirational springboard to creating even newer sounds.

And finally… do you have any wisdom for those starting out in sound design? Thanks again for your time, Richard!

Stay in school, you are never a master of anything. I tell people that I will be a student for life.

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Concept

£118.80 £91.20 Demo Concept

Download a free demo of Concept to explore the soft-synth’s intuitive drag & drop modulation and swift patch-building workflow.

The Richard Devine presets come included in the demo and the full version.

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Activating Concept

Watch this video to learn how to activate your Concept license.

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Concept Walkthrough

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Roni Size interview | Krotos Concept

UK drum’n’bass pioneer Roni Size (Reprazent, Universal) talks to Krotos about his background, his music and gear. We’re really excited to have Roni onboard for Concept, the new software-synth from Krotos! Roni Size’s whole life has been about building something new from whatever was around him. From Bristol youthclub parties, through the white heat of rave and the founding moments of jungle and drum’n’bass, to transforming underground electronic music into something that could be played by a live band on the biggest arena and festival stages, he has at each stage created completely afresh – not just a sound or style but an entire methodology of how music can be made. And each time, that new creation has reflected his heritage, his surroundings and the precise moment in which he’s operating. Roni created a selection of presets available in Concept. Download a free Concept demo to trial Roni’s presets!

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Introducing Concept | Synthesis in Motion

Concept is an intuitive and creative soft-synth, that makes the process of creating your own patches fast and inspiring. Concept’s flexible synth engine will enable you to create everything from traditional synth sounds to more complex evolving textures and custom sound design elements. A fresh approach to modulation allows any parameter to be mapped to one of four highly editable multi-mode modulators in the centre of Concept’s UI. Choose from a variety of flexible modulation options such as an Envelope/Pitch Follower, an X/Y Capture pad and the unique ‘Tweak It’ customisation system. Concept also comes with an extensive selection of high-quality effects with a total of three simultaneous insert slots. A highlight of the effects suite is a mix ready convolution reverb that allows user IR files to be utilised to create unusual creative effects.

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Angelo Palazzo on using Krotos Reformer Pro and Dehumaniser 2 in Stranger Things 3 and Frozen II.

Multiple award-winning Sound Designer Angelo Palazzo‘s career spans 25 years, and has seen him work on huge titles such as Star Trek, From Dusk Til Dawn, Alita: Battle Angel, and many more.

2019 has been a busy year for him, and we’ve just heard of his nomination for MPSE Golden Reels for his recent work on Stranger Things 3 and Frozen II.

We caught up with Angelo to hear about his year, and to find out more about what role his Krotos software played in some of 2019’s biggest features and TV shows!

Hi Angelo, thanks for taking the time to talk to us again! Since we last spoke, you’ve worked on two major projects: Stranger Things 3 and Frozen 2. How did you land the Stranger Things gig, and what was it like joining the Sound Department on the third season?

Hey guys! Thanks for reaching out again for an interview. It’s always a pleasure. Yes, it’s been a busy year, for sure.. Stranger Things 3 was definitely one of the highlights and a blast to work on. It’s been quite a ride working on such a popular show and for a successful platform like Netflix.

The show came about for me through my relationship with Craig Henighan who I’ve known and worked with for many years. We were working on Alita: Battle Angel earlier in the year and he asked me if I’d like to take on the SFX Editorial for ST3. Of course, I said yes. I’m also a fan of the show so I was excited to be a part of it and I was definitely inspired about getting to add my style and choices to the show.

Our Sound Department is really a talented group of committed sound professionals. We function more like collaborators rather than a formal department as all of us have the mutual goal of wanting to produce excellent sound work. I’m definitely proud to be a part of this team. It includes re-recording mixers Will Files and Mark Paterson, Craig Henighan as our Sound Supervisor and lead Sound Designer, Ryan Cole is our Dialogue Supervisor, Katie Halliday is our Assistant Editor, and David Klotz is our Music Editor. Craig and David have been on since the first season and the rest of us are all new to the show. For me in terms of sound fx, this was exciting because it meant I had a lot of opportunities to get creative and bring my perspective and style to the show. Most of us actually worked remotely from our own studios which is fairly common these days and I think the first time we as a team were all in the same room together was during playback of the final episode.

What was your role on Stranger Things 3? Is there a particular scene / moment you’re the most proud of, and how did you achieve it?

I was the lead SFX Editor in that I was responsible for editing, sourcing, and recording the sound fx and backgrounds for each episode. We had decided early on that we weren’t going to use any of the fx or backgrounds from the first two season so I built up the FX and backgrounds for season three entirely from the ground up, so to speak. Occasionally, Craig and I collaborated on some sound design elements but overall I handled the sound fx. Our workflow was once I completed an episode, I would send it to Craig and he’d combine his design, add any additional elements and then ship it to the mix stage for the final. During the mix, Katie would help with any fx updates or adds and Craig and I would be on to the next episode in order to stay ahead of the schedule.

It’s hard to pick a particular scene I’m most proud of but I definitely enjoyed building out all the rich layers for the Carnival and Fourth of July scenes which included lots of fireworks, rides, screaming crowds, fights, and stylized slow motion. Also the big season finale of the Battle of Starcourt was a particularly fun and challenging episode as it involved it brought together all the big elements of the show. It involved a lot of fast-paced action, hefty fights, guns, fireworks, gore and stylized cutting between the battle in the Starcourt Mall and Hopper and Joyce infiltrating the Russian base on a mission to destroy the huge laser beam drill.

One thing I got a chance to do a lot of during ST3 is recording new material. I was on the show early enough and had plenty of lead up time to come up with ideas and record new material. Also during the post schedule, there were many opportunities to get out and record.

Since there were so many new locations this season, I got a chance to really explore some new backgrounds and sounds. For me, this was great. It was an opportunity to record new sounds and create very focused and custom sound tracks. I was constantly looking for chances to record. Even small, incidental things like in the Byers house, for example, all the doors, the dropping magnets, the microwave, refrigerator, and anything else I could think of is from my home.

My electric garage door was recorded to add character Mr Clarke’s garage door since it’s squeaky and jittery and helped add to the comedy of the scene when Winona Ryder (Joyce) goes to visit him. Los Angeles was hit with some heavy rainy days last November so I built up a new rain library that ended up in the show particularly in Ep 03 “The Case of the Missing Lifeguard” which mostly takes place during a deluge of rain.

Also, a carnival showed up one weekend near Burbank where I live and I was able to get lots of new crowd recordings, motors, rollercoaster tracks clacking, hammer hits, bells, gallery call outs, and scream bys and cheers etc. The carnival even had an exact Gravitron ride like the one in the show. I couldn’t believe it. I remember taking a photo and sending it to Craig saying something like, “Dude, look what I just recorded.” Haha.

Finally, for The Starcourt Mall, I went to The Burbank Town Center Mall and recorded various perspectives of all the different levels to create the ambience and feel of Starcourt. I recorded various POV’s as well as the food court, doors, wallas, crowds, parking lot, etc. Katie also did some of her own mall recordings as well as some public pool recordings for the early episodes which help round out a nice collection of new sounds.

You’ve been using Krotos software for quite some time now (I believe you were amongst the first Krotos users right from the beginning!). How have you incorporated them, and have they contributed to your workflow?

Reformer Pro and Dehumaniser 2 have definitely become part of my workflow. Overall I’d say Reformer Pro is my go-to-tool for quickly creating new fx layers and unique combinations and sweetener. I really like how it allows me to try out new ideas and achieve usable results without losing my creative flow or getting bogged down in technicalities and setup time. The most amount of time I ever need to spend with Reformer is when I’m building new libraries, which in fact doesn’t take much time at all and once that’s done, it’s off to the races and that’s when the fun starts.

In regards to creature vocal design, in the early days for me, I used to approach it by first creating a guide track using my own voice. This would simply allow me to have a road map of some of the expressions and directions I wanted to explore. More often than not though my voice would rarely end up in my final tracks since it wasn’t very usable. Now with Dehumaniser, I can still create my roadmaps the same way but now I can processes my voice and get much closer to the final result. It’s also way more fun and inspiring using Dehumansier 2 and it often gives me new ideas. Best of all, even though I will also end up layering in other other elements, Dehumaniser allows me to create very usable tracks that will typically end up in my final build.

Have you created your own libraries in Reformer Pro, and what kind of results have you achieved, any cool tricks you could share?

Oh yeah, I’ve created loads of custom libraries with Reformer Pro and I’ve come to learn which type of sounds work best too. It’s a lot of fun to go out and record new material and then build out libraries in Rerformer to use for a project.

A good example is in Ep 06: E Pluribus Unum. During this episode, El uses her abilities to find Billy and see into his past. We find ourselves in an idyllic dreamy beach sequence with waves softly crashing as Billy and his mother enjoy happy times. This scene slowly turns dark and sinister as his father shows up and the sky goes dark and electrical elements can be seen in the waves crashing and in the sky.

One of the ideas I came up with while I was looking at the waves crashing in the scene was how this dreamy scene gave the waves an almost ethereal quality. To me it look kind of like elegant thin papers slowly tearing with each wave crash. Paper tears have an almost ethereal, electrical quality to them so I thought it would be interesting to try to combine each wave crash with these tears to give them an otherworldly quality. I set about creating libraries in Reformer of soft beach waves crashing and paper tears and began experimenting and layering to find the right blends and combinations. Along with traditional editorial, I was able to create a scene that worked out really well and I was very happy with the results.

Another example that was all the guttural and gross gore material that needed to be cut and created. I knew that I would be dealing with lots of gore, slime, bones and blood this season so I set out early making new recordings of thick goopy mud and yogurt as well as fibrous vegetables crunching, twisting and breaking for cartilage and bone. I would then use these to create separate custom libraries in Reformer and play around until I got combinations, layers, or sweeteners I liked. When combined with my editorial tracks, I was able to get some very nice results. Fortunatley, I also already have a formidable library of gore from years of working with Robert Rodriquez on many of his movies like Grindhouse, Machete, Sin City 2, Predators, and Alita: Battle Angel so I didn’t need to create too much new stuff but anytime I got extra time to record new gore ST3, I was sure to do it. You can hear some good examples throughout the season but two of my favorites are in the hospital scenes in Ep.5 “The Flayed” and Ep. 8 The Battle of Starcourt.

You worked on Frozen, and have recently completed Frozen 2, what was it like going back to the Frozen Universe, had much changed?

It was so fun getting to come back into the Disney world of Frozen. It was such a blast working on the first Frozen so getting asked to return to contribute my sound design and join the team again for Frozen 2 was such an honor. The post production sound was handled by the awesome folks at The Formosa Group. Formosa is such a great group of professionals and talent and some of favorite people in the sound industry are here. On Frozen 2, we had Sound Supervisor and lead Sound Designer, Odin Benitez, Pernell Salinas our Sound Assistant, Sound Designers Jeff Sawyer, Eliot Connors and Stephen Robinson, Harrison Meyle our Dialogue/ADR Supervisor, and our excellent mixers David Fluhr and Gabriel Guy. Also, new to the Frozen 2 team are a couple of young up and coming and talented editors Chris Bonis who handled Foley and Russel Topal who is a solid editor and rounded out our editorial team.

The Frozen Universe has changed in the sense that all the characters are, of course, older and dealing with more mature issues you might say. It’s sort of a darker Frozen with heavier issues to tackle and unpredictable characters to design. Elsa is presented as sort of a warrior at times and she isn’t afraid of confrontation or conflict so it all makes for a fun sound challenge.

It must be a lot of fun working in this Universe! How different is it designing for animation, does it mean you can put more creativity in to bringing your visions to life, and are there any major challenges that come with it?

I’ve always felt that animation is deceivingly challenging and often follows a very different set of “rules” than real-life action movies. The main thing is it looks all fun and playful because you’re in this world of colorful, cute and fun characters but when the action gets going you notice that they don’t move in a way that follows the laws of physics. They might jump or swirl or run or quickly appear or disappear in a way that isn’t possible in real life so, in terms of sound design and editorial, you need to be super-precise and tight and your sound choices must be focused and purposeful. You really can’t have any extra-fat so to speak when building your tracks.

Yes, I feel like I bring a level of creatively to animation that that’s different than typical live action. Real-life action is dictated much by what you see on screen but with animation who can play with perception. I find myself trying all sorts of sound experiments and thinking far outside the box when I need to create magic, or elemental characters or spirt sounds. Frozen 2 has a whole host of “spirit” characters that Elsa and the gang have to contend with. One of my main designs I was asked to create was Gale, the Wind Spirit.

Could you tell us some more about how you used your Krotos software on Frozen 2?

Yeah. When I designed Gale, I needed to create various expressions for her. For example, when we first meet her, she’s very playful and fluttery and is teasing and toying with Olaf. Later she becomes super angry and turns into this raging gale-force wind tornado. Each of these expressions needed organic natural elements like leaves and winds, of course, but more importantly needed “vocal” expressions to match her moves so that we could identify her voice and what she’s “saying” or “feeling”. I experimented with different recipes of plug ins to get what I wanted for this and Reformer Pro was instrumental when I needed to create unique combinations of winds, leaves, and other fluttery expressive tonalities and “vocal” elements.

I ended up creating Gale’s voice in a way that presents her as very ethereal, and expressive but it’s not actually a voice and yet it’s very identifiable that it’s her character and expressions. I created her movements to be organic with winds and leaves and whooshes etc but her actual “voice” was not wind at all. I first experimented with my voice and with female voices but non of that worked. Eventually what I designed was surprisingly unique and delicate. It was something I experimented with early on that caught Jennifer Lee’s attention so I knew I was on to something and going in the right direction. By the end I had developed a full “vocabulary” for Gale and she loved and was very happy. She kept wanting to know how I created Gale’s “voice” and expressions but I playfully told her that if I can’t tell her because it would lift the veil of “movie magic” and potentially ruin her movie experience.

It wasn’t that I was trying to be mysterious, or protective or precious about it. It’s more of a phenomenon that every sound designer encounters eventually in their career. That is, the minute you tell your director how you did something, it kind of messes up their experience of the movie. It can potentially ruin the movie magic so I even jokingly told Jennifer that I’m doing this to protect her. Haha. Seriously though, I’ve come to believe that it doesn’t matter how I achieve a sound in a movie.. All that matters is that it moves you and you respond to it. If I can achieve that, I’ve done my job. Over the years, I’ve simply become respectful of this phenomenon so I don’t want to make it about my quirky clever ideas but rather about whether you enjoy the movie.

And finally… what’s it like actually watching the full end-result of a film / TV show you’ve worked on, are you able to detach from your sound design work and enjoy it as a spectator?

It’s awesome and yes, always! Love what I do!

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Sound Design Bundle 2 in Action | SWAT promo

From the footsteps crunching on glass to the tension created by the monster’s voice, the full sound design for this promo video was created using only the software and libraries contained in the bundle. Sound Design Bundle 2 is the flagship bundle from Krotos, combining four specialised plugins with three huge sound effects libraries – bundled together into one essential package at amazing value. Offering flexible, creative and efficient workflows for sound design, audio post-production and game audio, this enables you to design creatures, animals, weapons, vehicles, footsteps, Foley and other unique sound effects – advancing creativity and shortening the critical path from your imagination to the final mix. Interested in learning what the design process for this video was? We’ve broken down the video in to quick walkthroughs demonstrating how the specialised plugins from the bundle were applied to bringing the full sound to life. Watch ‘Sound Design in Under 10 Minutes’ to learn more!

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