Krotos Audio

How Nicolas Titeux improved his video game sound design workflow using Weaponiser

Nicolas Titeux is a Sound Designer, Audio Engineer & Composer from France. His work can be seen in Film, Animation and Video Games. Learn More about Nicolas on his Website and see more coverage of his process on his YouTube channel.

Designing Sound for Video Games

In a video game, like in an animation film, I often have to create every sound from scratch: Foley, FX, ambiances and music. I always use gameplay video captures when creating my sound effects. The game team usually provides a set of specifications, and a list of required sounds with the in-game events to which they relate.Here is my typical workflow when I work on video games:

There are two specific obstacles in video game sound design: the first is the repetitiveness of the sounds. Unlike film, video games have an important lifespan, in that many player actions (and their sound effects) will be repeated again and again – you have to take this into account during the creation process. Repetitiveness can make the soundtrack irritating and totally discredit certain sounds such as footsteps (a perfect repetition of a footstep sounds like a machine gun). We use middleware like Wwise or FMOD to randomise sounds, to ensure they never repeat the same way twice. The second obstacle is that you cannot predict which sounds will be triggered simultaneously – therefore it is difficult to assess how different sounds will work together without testing them first.A session of FMOD. Each track triggers randomised sounds.
Testing Sounds and Iterations for Video Games

Testing is a very important aspect of video game sound design – far more important than in a linear media like a film.Take, for example, a recent project I worked on: a fighting mobile game called Big Helmet Heroes: Journey

It’s a pretty ambitious game where two characters go head-to-head with weapons and armour made from different materials: Gold, Steel, Wood, Pearl and Obsidian. No material is stronger than another, but each has unique strengths and weaknesses, just like in Rock Paper Scissors – this is called a non-transitive system.

To achieve this, I had to find something specific for each material. Most of my work involved creating the sound textures of these different materials. The graphics and animations are highly elaborate, so the team wanted sounds that were top of the line for a mobile game.I made the impact sounds of weapons, armor, character movement, special attacks, knockouts etc. for each of the five materials. I also created the character voices. In the end there are a hundred different sound events in the game.But in this game I didn’t have time to do the integration part myself. If you look at the initial workflow diagram, you can see that I cannot process proper tests without the integration step, because neither Pro Tools nor FMOD allow me to simulate randomised sounds in this situation. Pro Tools has video but no randomisation, and FMOD has randomisation but no video – there is no way to link them together.After designing sounds in Pro Tools and programming and randomising them in FMOD, I decided to export a bunch of them and manually edit them to simulate a game sequence in Pro Tools. I quickly realised that I was wasting a lot of time because the editing phase of the final sounds was long, boring and above all repetitive. I looked for a way to automate this task. I first tried using samplers like Kontakt but it takes some programming, which also takes a lot of time.
The Solution – Create Randomisation Using Weaponiser

Weaponiser turned out to be the perfect solution to make the editing process almost instantaneous, and to speed up testing. Weaponiser allows randomisation on multiple sound layers, which is basically what a video game middleware does, but with Pro Tools and video support! Editing process is quite simple:

• First I created an instrument track in Pro Tools with an instance of Weaponiser.
• I import the sounds I want to test into Weaponiser with a simple drag-n-drop.
• I record MIDI events using a MIDI controller such as a keyboard or a PAD, in sync with the picture, using half-speed recording to be more precise.
• I repeat the process for other sound layers.

Once that process is done, I have a testing session ready for any future iteration of all sound effects heard in the game sequence. I just need to bounce my session as a video file and send it to my clients for discussion.In the case of this game, there were so many different animations for each token, therefore so many combinations, that I made a lot of versions of each sound before finding the perfect balance. Weaponiser was really helpful to automate the long and boring editing task. Here’s a video of the process:

The post How Nicolas Titeux Improved his Video Game Sound Design Workflow Using Weaponiser appeared first on Krotos.

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Cyber Futures: Free Sound Effects Volume I

Krotos’ January free sound pack, Cyber Futures, contains a collection of intricate, textural one-shots and gestures. These meticulously designed sounds can act as standalone elements, or can easily slot into your designs as additional layers.

These futuristic sound effects stand strong as individual elements or are perfect for layering. Expect chest-rattling impacts, laser discharges, alien pulses, robotic mech sounds and more!

To start your collection of free Krotos sounds, Sign up to our newsletter. You will access news and exclusive offers as well as your monthly sound collection.

Already a member? Your work is done – you have already been receiving our sounds each month automatically!

Cyber Futures Sounds Categories:

Futuristic Impacts
Laser Discharges
Drones & Pulses
Robotic Mech Sounds
Portal & Warp Sounds

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We’ve assembled this list to bring together some of the best sound design podcasts to help you hone your craft.

It’s no secret that podcasting has been taking over the ears of millions of people around the world. Podcasts are an amazing resource to find tips and advice to perfect your art. And what better way to learn about sound design than through a sound-only medium!

There’s no better way to immerse oneself in the realm of sound than to listen and learn, whether you’re an producer, composer, or audiophile, expert or amateur. The podcasts we’ve selected cover a range of topics that sound designers will find useful, from tech tips, to business sense. These sound design podcasts will inspire and educate.

In no particular order…

The Sound Design Podcast

The Twenty Thousand Hertz Podcast

The Hanging Out With Audiophiles Podcast

The Tonebenders Podcast

The SoundWorks Collection Podcast

The Soundbytes Podcast

The Sound Architect Podcast

The Sound Design Podcast

Presented by Akash Thakkar, Sound Business dives into the mindsets and methods of some of the top musicians, sound designers and audio creators in the world. Akash is a sound designer himself, having worked in the game audio industry for over ten years.

Akash interviews a huge range of industry professionals from plugin makers, performing musicians, video game composers and others to learn how they run a successful business. Akash sets out find out why some audio artists succeed and others don’t.

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

The Twenty Thousand Hertz Podcast

The Twenty Thousand Hertz podcast is hosted by Dallas Taylor a respected thought leader on the narrative power of sound. Dallas is the Creative Director at Defacto Sound, which has seen him lead sound design projects for huge brands and films.

Twenty Thousand Hertz reveals the stories behind the world’s most recognisable and interesting sounds. Not only is this podcast very interesting, it also sounds amazing… but you might expect that given the producer’s sound design credentials!

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

The Hanging Out With Audiophiles Podcast

The Hanging Out with Audiophiles podcast is hosted by Jamie Lidell. If you hadn’t guessed from the title, he invites musicians, audio engineers, and all-round audiophiles on to the show where they talk about tips, stories, and share ingenious insights from the bizarre world of music production.

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

The Tonebenders Podcast

Tonebenders is a sound design podcast presented by a collective of sound design professionals. They cover a huge range of topics from building your own field recording kit to dealing with clients. They also frequently invite industry professionals onto the show to discuss the sound design of their latest movie, tv show, or game.

With a combined 60 years of knowledge this podcast manages to present a thoughtful take on the past and present of the sound design world.

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

Tonebenders Podcast · 169 – Building a Backyard Studio Roundtable

The SoundWorks Collection Podcast

The SoundWorks Collection podcast was created in 2009 by filmmaker Michael Coleman as an online destination that takes you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition.

In each episode they interview sound crews, composers, and songwriters who produce the soundscapes and score for that episode’s featured piece of work.

This podcast provides great insights into their guests’ creative processes. You’ll find out out how their work ties in with other aspects of the production.

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

Soundworks Collection · The Sound of Little Fires Everywhere

The Soundbytes Podcast

The Soundbytes Podcast produced by sound designers Derek Brown and Barney Oram focusses on games and game audio. This podcast is packed with informative discussions with guests from the industry. Together, they explore the recording and design process, discuss equipment and resources, and talk about video games that have great audio.

Both Derek and Barney are professional sound designers and Barney has even created one of our sound effects libraries Explosions Sound Effects Library, so we can vouch for his credentials!

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

The Sound Architect Podcast

The Sound Architect Podcast is a friendly and entertaining take on the sound design world. Produced by Sam Hughes, this podcast features interviews with your favourite voice actors, composers, sound designers and other top audio professionals around the globe about their journeys and projects.

The Sound Architect Podcast have very kindly reviewed Dehumaniser 2, Reformer Pro, Weaponiser, Igniter and Sound Design Bundle 2 which you can find here.

This podcast is packed with useful advice and real world experiences. It covers voiceover, music and sound design in games, film, TV, (although mostly games).

Recommended Episode

Here’s an episode we’d recommend to get you started with this podcast.

So, that’s it, that’s our favourite sound design podcasts right now. As is the nature (and beauty) of podcasts, many of these podcasts are amateur ventures (or at least started out that way!) and they rely on us to support them. Some of these podcasts have Patreons associated with them, so if you have the means to support in that way, then please do.

Of course there are numerous fantastic podcasts out there, so go get your headphones on and get listening to some awesome content.

If you’re looking to expand your sound design toolkit, check out our plugins Dehumaniser 2, Reformer Pro, Weaponiser, Igniter, and Concept 2. We have also curated a huge collection of essential sound effects libraries.

Sign up to the Krotos newsletter and get free sound effects to your inbox every month!

Our monthly free sounds offer you a wide range of sound categories from Foley, combat sounds, impacts, animal sounds, to transitions and more!

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Alessandro Mastroianni shows us the process behind the scenes for sound designing the trailer for our new Sci-Fi Sound Effects Libraries Collection.

This Collection includes an absolutely massive amount of sounds, over 17,000 which brings the overall size of the library to over 46gb. And it also includes extra content such as over 300 Weaponiser presets and 400+ Reformer Pro sound packs. You also get the sounds as standalone, which is mostly what we’ll be using today. The Sound Effects Libraries Collections offer massive savings, it’s about 30% cheaper purchasing the Collection versus buying the single libraries individually.

Video Transcription

Hi, I’m Alessandro Mastroianni, and I’m a Composer and Sound Designer. Today I’m here to tell you a little bit about Krotos Audio Sci-fi Sound Effects Libraries Collection. The collection includes an absolutely massive amount of sounds, over 17,000 which brings the overall size of the library to over 46gb. And it also includes extra content such as over 300 Weaponiser presets and 410 Reformer Pro sound packs. But you also get the sounds as standalone, which is mostly what we’ll be using today. The Sound Effects Libraries Collections offer massive savings, it’s about 30% cheaper purchasing the Collection versus buying the single libraries individually.

I was responsible for designing the trailer that the Krotos Audio team put together to promote the library. And today we’re going to go a little bit of a behind the scene on how I used these fantastic sounds to do just that. Let’s get started. Here we go. Let’s watch the finished result and then we’ll move from there.

Lots of fun. This is kind of the typical dream sequence to design for a Sound Designer. Let’s have a look at the session very quickly and the way you organise it, as you can tell from here… really a lot of stuff. I kind of colour coded them so that we can have a look at what I’ve done for every clip. I’ve used pretty much all audio, but I’ve also added a couple of Weaponiser presets so they could use the Midi.

You’ll see where. And I’ve also kept the external processing to a minimum. There is a Reverb and a delay that has sound effects that used to give some space. And in the insert there is also a couple of compressors and EQS, but nothing much, really. It’s mostly what’s available in the collection, which is a lot. Starting right at the beginning.

You see, this kind of guess is a tape machine and then this vinyl spinning. So we start with kind of early technology. There is a little bit of a timeline here, a little bit of a history of technology, past, present and future, I guess so for this, I use these kind of mechanical sounds, a layer four sounds together, moving to the next one. This is a much more complex scene. There is this kind of a matrix like green screen that moves into this chip explosion.

This is a CPU, I guess. And then we got this laptop, with this whoosh sound. So this is probably one of the most complex to design, and I’ve layered a lot of sounds together. And again, this is all audio, a lot of stuff from the Energy library that is included in the collection from Robotic Lifeforms 1 and Robotic Lifeforms 2 that are included in the Collection. One of my favourites, I must say, moving on.

We got the military over here. We got these lasers. The lasers were quite tricky. I’ve used these sounds here, which not real at all, but they kind of contribute to the cinematic nature like these beeps. And then layered in these mechanical source sounds from Robotic Lifeforms.

And again, stuff that is not happening on the scene. But we’re not going for realism. We’re going for cinematic and this kind of ticking sound in my mind added a bit of tension. It tells us that there’s something kind of wrong going on there, and there is tension going on without the need for music, which we don’t have here. And then I’ve added a couple of electric rings.

And there is also this engine power shut down and the comet riser that really works as a cinematic transition to the next scene.

For the next scene, we have a working environment, a working robot, I guess so for this one, I first of all, use the room tone from the Energy Sound Effects Library industrial Power Zone to convey the idea of an industrial working space. And then I’ve designed the main robot Footstep with this great Weaponiser prize, which is called Mac Footstep. Robotic footstep 1 generic. Weaponiser is obviously great at this sort of thing. And the great cool thing about using Midi is that you can really fine tune it to where you need it with the scene.

I absolutely love using Midi for footsteps. And I’ve also layered some audio files, though, which is just some movement again to layer it all together. It sounds like this and then still moving on. We got some military drones.

I’ve layered again some particles passby from the Energy Sound Effects Library and some Air pneumatic. But I’ve also added this kind of whoosh at the end it looks like these drones are about to attack. So this again generates some tension for the scene, which will work pretty well. This is the dance scene that’s a lot of fun.

And here again, I’ve used Weaponiser. You see a lot of Midi to match all the robot dancing movements. And for this one, there is a really cool Weaponiser preset, which is called Comms 3 Shutting Up The Chatter Bot, which I really like because it has some layers that are kind of chatty, which contributes to giving the idea of this friendly Robot rather than something menacing. And it also has the body movement. So it sounds like this… isolated.

And again gives the idea that it’s something playful and light rather than something dark. And then we get to the UFO shot. And for this one, I’ve layered a lot of stuff from Robotic Lifeform and Energy.

Laser beam is just just perfect for the scene from the Energy Library that is included. And I just layered some other stuff on top of that. And following we got this shot in space like all the shots in space, there is obviously no sound in space, but you want to add something cinematic to it and it looks like there is something happening over here. The spaceship, there was an explosion of some sort. So I layered in some debris sounds together with other cinematic sounds for the aftermath of the explosion.

Then we move into this very fast tunnel. I’ve actually had a few troubles trying to understand what this is exactly. I’ll be honest, but it’s a spinning object. It looks like it’s a very fast scene. So this one, you’ll see, I layered a lot of different sounds.

There are some spinning sounds. There is even a CD drive spinning. It looks like it’s been miced very close. There’s a really cool sound, and together with even some guns sounds and other airy sounding mechanic sounds, here’s what it sounds all together. Layered.

There’s also a little bit of a cinematic transition at the end. With this whoosh from Robotic Life forms 2. Robotic Lifeforms 2 contains lots of cinematic transitions that are really great. It’s obviously primarily a library that covers anything robots, but it also has some more abstract cinematic sounds, which I find myself using all the time really cool.

Moving on to the next scene. We have these planets with a satellite, I guess, and this is the sound that I made for it. This is a mix of a synth bass, which is included as an audio file, though in the library and some other stuff from the Energy and Robotic Lifeform Library, it has a little bit of a musical brand feel to it again. Seeing shot in space, it’s supposed to be no sound, really, but we’re going for cinematic. We’re going for a big impact.

That’s our job as Sound Designers, after all, in most context. And then we moved to this galaxy with the final reveal with this kind of colourful green explosion. And for the big finish over here, I’ve layered a few things again from Robotic Lifeforms 2, there are some really cool impacts.

I’ve done some low passing on the first two to give the sense of this distant object, and then a whoosh and some steam gas explosion from Mechanical Sound Effects Library Vol. 1, which is another one of the libraries that is included, which is really cool. And this is how it sounds altogether.

And again, the last impact. Comet riser hit again from Robotic Lifeform, which, as I said, is great for these cinematic transition effects, and they manage to have the it happened exactly where the big reveal happens, and that’s it. I really hope this was useful. I had loads of fun designing the scene, and you can learn more about the Krotos Audio Sci-fi Sound Effects Libraries Collection on krotosaudio.com.

Thank you so much for watching. And I’ll see you next time.

Sci-Fi Sound Effects Libraries Collection

€1,125.33

Combat Sound Effects Libraries Collection

€573.43

Animals Sound Effects Libraries Collection

€425.46 Sign up to the Krotos newsletter and get free sound effects to your inbox every month!

Our monthly free sounds offer you a wide range of sound categories from Foley, combat sounds, impacts, animal sounds, to transitions and more!

Join the newsletter More from Alessandro Mastroianni 5 Ways to Create Unique Sounds Fast in Concept 2 with Alessandro Mastroianni Krotos in the Studio with Alessandro Mastroianni Episode 7, Part 2: Music Production & Composition with Alessandro Mastroianni

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Every year Black Friday brings a flurry of sales on the plugins and sound effects libraries we as sound designers and mixers have had on our wish lists all year.

This year I have a handful of big design projects on the horizon, so I went a little extra with my purchases. I picked up the Lost Transmissions library from SoundMorph, upgraded to the Pro Sound Effects Core 3 Pro Plus library and finally picked up the Krotos Everything Bundle 2 after eyeing it for years.

In addition to the work I do in the studio, I also work at other facilities in town and like to have my library with me when I travel or need to work out in the world.

Last year I picked up an OWC Elite Pro Dual mini enclosure that houses 2×2.5” hard drives and runs off USB-C power. I have a 1TB 870 Samsung SSD for a project drive and a 4TB Samsung 870 SSD for my sound library. With my latest purchases, I am out of space on my mobile library drive. Below I will discuss several storage solutions if you similarly find yourself out of space.

Korey Pereira recording ambiences in Costa Rica Synology NAS 1. Set up a NAS (Network Attached Storage) with remote access

In the studio I have a 16TB Synology NAS (network-attached storage) that I use for onsite backup of my sound library and projects. Synology (and most other NAS manufacturers like QNAP or SNS) make it easy to set up remote access when you are away from the studio and mounts on the remote computer just like a local drive. Luckily we have Google Fiber in the studio, so I find that accessing our library remotely is fast enough for typical use, assuming the connection is decent where I am working.

Where this solution solution proves problematic is when the power or internet goes out at the studio. Being cut off from my library when I am needing to get work done is not an option.

2. Use a hosted storage solution like Lucid Link

Lucid Link is a cloud-based alternative to a locally hosted NAS. They offer a tidy app that mounts your storage volume, like Synology, the same as a local drive. With a hosted solution, your data lives on an IBM Cloud server, the chances are very low that your library will be inaccessible due to server outages.

This service does come with a monthly cost, but is scalable (they charge per TB/mo), so your volume can grow as your library does. Access speed is similar (if not better) to the performance I get from my Synology on Google Fiber. If you have less than stellar internet speeds, this will likely offer faster connection than you may get.

Where Lucid Link or a similar cloud-based solutions won’t work are when you find yourself working somewhere with slow or no internet connection. Personally I find myself working on a plane or at a café, so I really needed a solution. This leads us to a third solution.

Convert your sound effects library to FLAC

After my recent Black Friday purchases I was considering upgrading my 4TB Samsung SSD to an 8TB, but found it a little hard to stomach the $700 price tag. Instead I decided to convert my library to FLAC.

For those not familiar with the format, FLAC is a lossless audio format that takes up roughly half the space as .wav files. While Pro Tools does not (yet) support the format natively, audio databasing software like Soundminer, Basehead or SoundQ all do. I use Soundminer V5 Pro. Within Soundminer, there is an option to mirror a library to FLAC. As I already have a copy of my full library on my Synology NAS, I selected this as my source in Soundminer and set the target as my portable 4TB SSD. The next morning I had a copy of my whole expanded library converted to FLAC and ready to use.

Soundminer Database Menu Soundminer Mirror Menu

https://info.soundminer.com/docs/mirror

Final thoughts

I know some people might have libraries significantly larger than mine and may not fit on a portable drive even after converting to FLAC or perhaps need to have a smaller travel storage solution.

If you need to save space on your travel sound effects hard drive, the first thing I tend to cut are my raw recordings. The next libraries I tend to cut are my crowdsource libraries. While it is nice to have when space is not a concern, they tend to be large and very specific to one topic. If I know I am going to be cutting effects on the road and unable to access my full library remotely, I will try to pull effects before I leave and place them in my project folder.

For many sound designers you may not need to worry about working away from the studio, but if you work with a databasing app like Soundminer, it is worth looking at FLAC as a format for storing your files.

Save 30% on Krotos Sound Effects Libraries Collections, compared to buying the individual libraries separately.

Save 50 %  

Foley Sound Effects Libraries Collection Vol. 1

€594.95 €297.48

You save €297.47 (50%)

Foley Sound Effects Libraries Collection Vol. 2

€849.81

Sci-Fi Sound Effects Libraries Collection

€1,125.33

Combat Sound Effects Libraries Collection

€573.43

Animals Sound Effects Libraries Collection

€425.46 About Korey Pereira Korey Pereira in the studio

Korey is the founder of Soularity Sound, a post production sound company based in Austin, Texas. He also works with Soundcrafter and other Austin-based crews. Editorial credits include works directed by Richard Linklater, Robert Rodriguez and David Gordon Green among many others. In 2020 he updated his studio to support Dolby Atmos mixing and has expanded into 360 spatial audio for VR. Since 2018 Korey has also been a lecturer at the University of Texas at Austin, Department of Radio, Television and Film where he teaches post sound. He has been an active member of the Motion Picture Sound Editors Guild (MPSE) since 2017 and in 2021 was elected to a 2-year term on the Board of Directors of the MPSE.

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Beastly Growls:
Free Sound Effects for December 2021

We tend to acquire some b-roll sounds that are just as good while working on our sound effects libraries. They just haven’t found a home in one of our sound library bundles yet!

These sound effects are packed into mini collections and offered to our newsletter subscribers as a freebie every month. Keep an eye out for your monthly newsletter and grow your own SFX collection in no time!

For December, we’re bringing you beastly growls, snarls, and throaty chatters. Your imagination will be running wild when you hear these sounds! Think Predator style clicks, monster sounds, and nature’s wildest creatures. These sounds will add tension and fear to your projects.

Ready to go straight out of the box, or use them with our plugins to start getting really creative! These SFX were designed and recorded by the Krotos team.

Subscribe to our newsletter below and download the sound files directly through your welcome email.

Beast Sound Categories:

• Beastly chatters
• Clicky mouth
• Fleshy growl
• Beastly snarls
• Throaty growl
• Beastly squeal
• Ready to attack
• Low growl
• Gentle growl

Join now to get the free sound effects download delivered directly to your inbox: Already subscribed? You don’t need to do anything right now: Your library will arrive in your inbox soon. Share this article: RELATED PRODUCTS Buy Now

Weaponiser Basic

Your Secret Sound Design Weapon Weaponiser is an inspiring audio layering solution that allows you to design,... €220.17 Save 50 %   Buy Now

Ammo & Reloads Sound Effects Library

Bullet Casings, Various Surfaces, Gun Foley, Airsoft Gun Foley The Ammo & Reloads Sound Effects Library by... €97.17 €48.59

You save €48.58 (50%)

Save 30 %   Buy Now

Explosive Energy Sound Effects Library

Next-Gen Sci-Fi Explosion Sound Design at Lightspeed! The Explosive Energy sound effects library by Penguin Grenade... €183.27 €128.29

You save €54.98 (30%)

Save 30 %   Buy Now

Pulse Energy Weapons Sound Effects Library

Sci-Fi Weaponry, Pulse Energy, Mech, LFE, Tails, Charge The Pulse Energy Weapons Library is a comprehensive sound... €227.55 €159.29

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Passing IMDB

When Rebecca Hall first read Nella Larsen’s novella Passing, she just new it had to be made into a film. The book had a real impact on her, with parallels to her own family’s experiences.

Reading the story of these fictional women, Hall realised that her maternal grandfather had also passed as white.

“Suddenly, aspects of my family life that were tinged with so much mystery and obfuscation, there was a reason for that,” Hall says.

She came away from the book frantic with ideas, convinced that it had to made into a film.

Hall told IndieWire, “I was so struck by how — like any great art — it transcends the specificity of narrative plot points and becomes something so potent.”

Thirteen years later, Passing is Hall’s directorial debut. And it’s exquisite, particularly in an aural sense.

Jacob Ribicoff on forming the soundscape in Passing

Sound Designer, Jacob Ribicoff

Hall was forming firm ideas about the film in the making right from the off. She had visions of how it would look, the characters, the feel. She also imagined a constant “soundscape” that would help access the internal life of its characters.

Hall had very specific ideas about how Passing would sound. In an interview with FLC Luminaries she describes herself as “overly sensitive to sound”.

The sound design, by Jacob Ribicoff, focusses on the intense and personal. In interview with The Moveable Fest, Rubicoff commented on the halo effect in the film where you only seem to hear what’s within Irene’s immediate vicinity.

“There were a lot of things we did to achieve that goal of bringing the viewer along with Irene and trying to get viewers into Irene’s point of view, seeing the world as she’s seeing the world.

For example, breathing [became] a motif in the film where after Irene has an intense conversation either with Clare or with her husband Brian [played by Andre Holland] or her friend Hugh [played by Bill Camp], she winds up closing the door, the person leaves the room and she’s standing against the door and she’s breathless.

It’s a moment where she’s processing what just happened and it gives the viewer a chance to do the same and be with her because in a sense you’ve been in that conversation with her and now you’re taking a beat. So we recorded Tessa via ADR doing more breathing so we could put a button on that idea and that was really helpful.”

“Silence” was an important factor in the sound design of Passing, “space allows an audience to think” Hall said. Having said that, the silence in the film is carefully crafted, every bird tweet, every car horn is considered.

Ribicoff told The Moveable Fest “what I tend to do is put too much sound in at first and then thankfully I have good judicious directors to say, ‘No, no, no…that’s way too much.’ And that’s what happened.”

“After the first version I put together that had voices all over the place, both Sabine and Rebecca rightfully pared that down to a minimum, which makes it a much quieter experience, and the score is there as well, which is very important.”

Read the full interview with Jacob Ribicoff by Stephen Saito.

Devonté Hynes’ Score

When it came to the score Hall felt the need to break away from the traditional early 20th century style of heavily scored cinema. She wanted the score to act as a relief, rather than “emotionally underscoring” the film.

When Hall approached Composer, Devonté Hynes, she came to him with a big ask. The main theme was decided upon – a piece by Ethiopian musician Emahoy called Homeless Wanderer, which became “Clare’s theme, but stuck in Irene’s head”. Hynes’ task was to capture Irene’s sense of finding herself, with improvisational style music that slowly start’s to “catch” with Clare’s theme.

Hynes’ chose subtone trumpet to create an uneasiness that compliments the film with a slowing rising, tense theme.

Very deliberate sound design choices have resulted in a visceral soundscape in Passing that allows you to, in Rebecca Hall’s words “access Irene’s interiority”. The results are palpable and raw.

Watch the video below to learn how Dolby Atmos helped to enrichen the sound design of Passing.

Watch the full interview by FLC Luminaries in the video below.

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The post Jacob Ribicoff on “Passing” – Conveying Interiority with Sound Design appeared first on Krotos.

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Parrot Sounds:
Free Sound Effects for October 2021

We tend to acquire some b-roll sounds that are just as good while working on our sound effects libraries. They just haven’t found a home in one of our sound library bundles yet!

These sound effects are packed into mini collections and offered to our newsletter subscribers as a freebie every month. Keep an eye out for your monthly newsletter and grow your own SFX collection in no time!

For November we’ve got parrot sounds winging their way to you. In this tropical selection of sounds we’ve got sounds of cockatoos, African greys, and macaws. Perfect if you’re creating sounds of the rainforest, or zoo sounds. Recorded on location in Nakhonpathom province, Thailand these distinctive sounds are a great addition to any Sound Designer’s collection.

Ready to go straight out of the box, or use them with our plugins to start getting really creative! These SFX were designed and recorded by the Krotos team.

Subscribe to our newsletter below and download the sound files directly through your welcome email.

Parrot Sound Categories:

• Cockatoo squawk
• Cockatoo yell
• African Grey high call
• African Grey pitch dive
• African Grey bleep
• Macaw aggressive scream
• Macaw gentle squawk
• Macaw melodic squawk
• Macaw throat rasp
• Macaw scream
• Macaw yell

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Nikola Nikita Jeremić demonstrates how to use Concept 2 to create cinematic soundscapes. In this video, Nik explores creating unique sounds using our granular oscillator and modifying them further with an LFO.

“I really recommend this for creating ambient soundscapes” – Nikola Nikita Jeremić

So dive right in, and in minutes you’ll know how to create beautiful sounds without the complexity of operation you’ll find in many other synths.

Video Transcript

Hey, guys, Nik here. And in today’s video, I want to show you how you can utilise Krotos audio Concept 2 synthesiser in order to create cinematic soundscapes. Basically, it’s really, really great tool for this thing. And if they only created it so that you can create also your leads and basis, it’s got a whole tonne of sounds here. If you go into factory presets, there’s, like bases, pads, FX leads, keys, ambiences plots and stuff like that.

But if they created it to do only one thing like this cinematic soundscapes, this synth would have been still great. So here’s what we’re going to do. We’re going to go into factory presets, and then we’re going to initialise it by default. So this is what we’re getting just your basic sound. Now you have two oscillators here that you can use.

And basically it’s just your regular oscillator, your standard. You can choose your waveforms here and you can blend two waveforms together to create something a little bit more interesting. Another thing is this granular oscillator where you can just go and stretch and analyse an audio source that you can basically create something completely different out of it. So if I’m using these two of the same analogue sources, this is how it sounds. But what I want to do is that first I want to turn off the other one, and I’m just going to use, like, four starters, just one.

And if we go into let’s say, ambiences here and let’s say, like a rainy day and this is what we’re getting now I’m going to increase my attack and my decay and my sustain. I’m going to increase my release time because I want this really swell washy type of sound.

I’m just going to do it tiny, little bit like this.

That’s fairly okay. Now if we start tweaking these knobs here, basically, you have three options in this granule grains variation and some extra option. Now, if we go into grains, start knob here enables you to scroll through this audio source. Basically, you can increase the size of the grain basically, when it comes to radiation, what spray is doing in general is that it’s basically jumping around density and some fluctuation so that it moves drift is basically some sort of, like, automated pitch shifting, but this is like a white noise rain, so it won’t affect it.

Spread is stereo image.

We can make it this way, like, and we have some FM controls. But for starters, this is good enough for me. Now I want to add something that’s a little bit more tonal. So I’m going to go into, let’s say, guitars, boat. Let’s see what this.

Let me just turn off this one really nasty.

The other with this rain, I’m going to just make it just now just by tweaking this section here of the synthesiser. I’ve created something that sounds pretty ambient and weird, but the fun starts is when you go Loading these once you start modifying these knobs with LFOs and stuff like that. So I’m going to take this start and tweak it here so that I have this LFO moving throughout my grains. Now I’m going to increase this and I’m going to decrease the speed of this LFO. I’m going to leave the depth and I’m going to do something slightly different for this one.

Now I’m going to move the start of this UFO. Okay, I’m going to move it here. Speed also really low.

I’m going to increase the spraying of this. So watch what happens if I’m playing these and I have, like, cut off filter with your usual controls. I’m going to put it to now I want to control my filter with a mod wheel, basically. So I’m going to use this LFO and I’m going to ship change it to mod wheel, and I’m going to just drag the cut off to my mod wheel and see what happens. I just need you.

Let’s add maybe some ring mod.

Oh, this is good.

And I’m going to automate the depth of the ring mod with this final LFO that I have. I’m just going to make it go through here. I’m going to also make it just tiny, a little bit slower. I’m going to increase the depth of it. Let me see then I’m going to add a little bit of delay and a little bit of reverb convolution.

Now, why am I adding delay first and then reverb after delay? There are no rules, of course, but the way I like it is that the way I’m thinking about it is that basically you do not delay a reverb. Basically, if you send a reverberated signal into a delay, this reverberated signal of like maybe 2 seconds or 3 seconds will keep delaying on and on, and you’ll get a whole bunch of muddy mess. Basically, what we want to do is to add space to delay. So this is what we’re going to do.

I’m adding delay first and I’m going to maybe get one to be like in eight, the other one to be in quarters.

And let’s add some reverb, something like you can see there’s a whole bunch of these great great impulse response. Let’s say heavy galaxy. Let me see what this is mix, and now we just have to save it. Basically, we’re going to go click to save as it’s going to save it automatically into a user preset. Now I’m going to create something this might ambient patch, and I’m going to call it space wind, basically.

So click. Ok. And it’s in your user presets. Here where I have it. I really recommend this for ambient soundscape.

It’s like it’s bread and butter meat and potato tool for this type of stuff. So yeah, I hope this has been informative and educational for you. And my name is Nik, and I’ll see you in the next video. Bye.

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Dan Bieranowski takes us through his process for sound designing the 2021 LA Haunted Hayride. This sound design features everything you’d expect from a haunted house attraction, moody atmospheres, clanking chains, groaning voices, gruesome splats, it’s got the lot.

Dan goes step-by-step, showing us his thoughts and processes when sound designing a scene like this. Not to be missed, enjoy…

Video transcription

Hey, everybody. Dan Bieranowski here again to discuss haunted attraction sound design. This time, we’ll be taking a look at a scene from the 2021 addition of La Haunted Hayride. One scene in particular, about about 1 minute long. We’ll be covering how I go about designing this type of track and the different tools that I might use from a company like Krotos Audio to create the desired design that I want. First we’re going to listen to the track fully through, and then I’ll break everything down kind of one by one.

The theme of this scene is you’re in a hayride cart and you pull up into the scene. And then you watch this scene kind of unfold around you of a sort of secret society, people in cloaks and a person under a guillotine and the kind of lead bad guy. The voice for this cult turns to the trailer and says, essentially, Should we kill this person? Of course, everybody in the trailer says, yes, of course we want to kill this person. And then he says, okay, let’s do it.

They drop the guillotine, it cuts the person’s head off. And then as the trailer kind of drives away, the monsters surround the cart and start chasing after you. So you’ll notice there’s some dialogue and it’s kind of Moody at the start. And then it escalates into the guillotine dropping and a bunch of Gore sound effects and such, with a big kind of driving drum beat and some chanting because it’s like a cult chasing after you to kill you. So let’s take a look, listen to it.

And we’ll see how we built this thing out.

To the spirit of Halloween.

We pledge our nightly offering.

Speak.

Now, do any of you object to the sacrifice.

Shall this lamb die?

So that’ll go ahead and fade out. And the idea, of course, is you get the initial show moment, then you have the big scare, and then you’re kind of chased away by the Colt. So let’s break this down and look at each track, kind of one by one. So first things first, we have this kind of war horn sound and this other kind of war Horn sound. These are just designed to kind of set the mood for the scene. Each scene in the hayride has kind of a different vibe.

There’s scifi stuff, there’s clowns and this one’s kind of culty and a little bit more folklore than some of the others. So I like this kind of sound to kind of set that natural kind of witchy feel. So this is that Warhorn sound. And then here’s another version of that kind of Warhorn. And I like the impact of that second one. And you’ll notice that I put it on the one of each of the loops of that kind of driving drum beat to keep that kind of folky vibe.

And there’s no real processing happening yet. But when we get to this voiceover, that’s when we start to hear some of the processing. So first, let’s take a listen to the drone that’s happening underneath this again, kind of setting the mood, getting things right in that pocket to feel eerie and creepy and draw people’s attention. So just kind of Moody. It’s dark enough to not sit on top of the voiceover that we’ll be hearing in a second. Next, we have some chains kind of rattling, and this is actually done using Reformer Pro.

Reformer has a chain library. So it’s really nice because I knew I wanted the chains to be subtle. I could actually just record my voice performing kind of how I wanted them to sound. And then I can turn on Reformer Pro and replace that recorded audio of my voice with the actual sounds of the chain. So here’s what the chains sound like. I’m going to bring that up a bit so you can hear that a little louder. So it’s just kind of setting the scene for again what’s to come?

Because there’s a guillotine. You figure the guillotine is pulled up by chains, so we need that kind of bed of chain sounds, even if people don’t hear it to me, adds to the setting the scene that is to come. So I put it in there, even though people may not notice it to me. I notice when it’s not there to show you how much work Reformer Pro is doing. Let’s listen to the chains again. Now let’s listen to my voice performance. So you have an idea of what I’m actually doing to get that chain cadence the way I like it.

Drag the chain so you can hear me just saying drag the chain because I didn’t have anything else to say. And that’s what I wanted to use to create. So if I turn down the master dry wet, you’ll actually hear my voice performance underneath that. I mean, performers the best for this kind of thing. It’s just super fast to get everything laid in the way I want from a sample library without having to lay it out piece by piece. I can just perform it. Turn on Reformer Pro and fire everything up that chain library.

I’ll go ahead and put a picture from the website where you can get that is just located within Reformer Pro and you can buy libraries through their website. It’s really convenient for getting different sound design, libraries and things like that that you can just drop right in and get to work on. You’ll notice that there are a bunch of different chain sounds. We’re just using that chain rattling B library, but you can see I auditioned four and chose the one I liked the most. Or I could have mixed the sounds from multiples.

I’ll show you what that will sound like in a little bit. So now let’s talk about the voiceover. So we’ve got our kind of scene set here and there’s this voiceover that occurs over the top of it. So this is kind of like a Warlock or whatever the person that leads the cult. And this was performed by John Cook, who’s the creative director of the event. And to show you kind of the plug in chain we’re using where he recorded his own voice over for this, we kind of got him set up with just a simple desktop Mike so that he can record things and send them to me without me having to be in the room with him, because these events and their sound design changes so fast and so frequently, we needed a way that he can handle this on his own.

So he just uses pro tools first, which is free and a cheaper mic, but that’s all we need to get good results out of something like Dehumaniser 2. So I’m using Nectar three for EQ and compression. I’ll go ahead and turn off all of the processing so you can hear the raw voiceover through the Spirit of Halloween. We pledge our nightly offering Speak now so you can hear it’s just kind of a silly over the top hammy performance. It’s supposed to be campy and fun and evoke that kind of old style horror.

So it’s a pretty dynamic performance. So Nectar is handling some of those dynamics for me.

To the Spirit of Halloween. We pledge our nightly offering Speak now.

Brightens it up a little bit, gives it a little bit of life. Dehumaniser’s, obviously, what’s being used to handle the processing of the voice? This particular preset is splitting his voice into two bands. One is doing some pitch shifting, and then the other is doing additional pitch shifting with some flange or course on the first. So we’ll turn this off and then show you the difference that it makes to the Spirit of Halloween.

Our nightly offering speak. Now, do any of you object to the sacrifice?

So obviously you can see that our monster voice is essentially all reliant on Dehumaniser, basically turning John into this creature. I’m balancing each different pitch shifting set with this track input set of faders here, and you can see here. I’ll solo these to hear the different effects you’re getting from each of these modules to the Spirit of Halloween.

We pledge our nightly offering Speak now.

So I like that because that flange effect kind of makes it sound like there’s more than one person talking, kind of spreads things out a little bit. And then we have the initial set of pitch shifting, which is just going down by four semitones.

To the Spirit of Halloween.

We pledge our nightly offering speak now, do any of you object to the sacrifice.

So that’s the initial pitch shifting that we’re doing. But for that lower, more demonic sound, we’re going an entire octave down on this second pitch shifter.

Speak now them trapped to the sacrifice.

Shall this let him die?

I feel like with all those bands together, you get a much more kind of lively effect as opposed to just a single effect. It makes it sound like there’s more of John and it just sounds more demonic when there’s multiple layers and there are different pitches. If you go too low, the voice won’t read out around all the tractors that are running, pulling people through the hay ride and all the music and monsters and stuff. So we want to have one kind of higher pitched demon voice, which is our initial kind of minus four semi tones here.

And then we have that second layer, which is an octave down that gives us more body and kind of evil size, especially if we have, like, a 15 out there or subs out there. The octave down will really come through. So once we get through Dehumaniser, I run it through Decapitator, which is a sound toys plugin that just adds distortion. And again, the goal here is not Fidelity with these attractions. You’re outside, it’s loud. There’s all these different sounds and things to contend with. So for a voiceover to read.

Well, adding some distortion to it really makes a big difference. So this is what it sounds like without. And then with Decapitator, and you’ll be able to hear it more on this kind of more shouted.

Shall this man die.

Die just gives it a little extra edge, which I like. And then we have tape Echo, which is an avid plugin to just give it a little gravitas, I guess, a little spooky feel sure. So not much. There just kind of tucked behind. Then we have Nimbus, which is an exponential audio Reverb that I like quite a bit shopping, which gives it some size, makes it sound like you’re in kind of a Church, which the set kind of mocks. And then I’m adding a limiter on top of that so that we can kind of even out the performance even more, which of course, has to do with, like I said, it reading out there in the real world.

So that intro scene altogether sounds like this.

Speak now.

Shall this man die.

So now we hit some risers, right. This is leading up to the physical effect of the guillotine dropping. So we’re trying to increase suspense here, give the people something to look at. The guillotine is drawn, and then the guillotine drops and cuts off a prop head that falls off in front of everybody, which who doesn’t want to see that. So the risers are just kind of strings. Again, most of the sound design is organic because it’s kind of a cult horror feel the set of risers, which is pretty nice feel one of them has Reverb on it so that when it hits that end, it doesn’t go fully silent.

It kind of tails out, which I think is a real nice kind of touch. So then we have our guillotine sound and our impacts. Everything kind of escalates into that one moment so when everything comes together, this is when the big finale hits. The idea is head gets cut off. Monsters attack. So this is a guillotine sound effect with some additional library stuff on top of it. Pretty heavy. Some additional impacts that you can see. I have a loop on top of the music. Now we hit some Gore sounds.

These are taken from a library. That sound morph, makes that’s Gore specific, and they sound pretty fantastic. You can hear what that sounds like here. These are just waves that I pulled out. But then there’s a bunch of Reformer performances that work with the sound more flabberries that you’ll be able to see how I kind of performed the Gore sounds. So here’s some of the just flat wave files pulled from that library. Hopefully you can hear that. Just some blood spilling there. And then this is a little bit more of an impact sound like a bones breaking kind of thing.

And then we have these performed kind of Gore sounds. Take a listen to that pretty gross. Right? So those are actually performed by me. I just kind of did the sounds with my mouth. So let’s listen to what those sound like without Reformer on them. All the audio is going to pan left for a second because it’s a stereo track, but it’s just a mono recording. So take a listen to this. So I’m just saying splat a bunch because I’m an idiot, but yeah, so what you’re hearing is just my silly splats.

But with Reformer turned on on that bloody gory set of library sounds that we got from soundmore, and I just added layers of different styles of sounds. So those are splatters, obviously. Then you have disembowelments and gory wet squishes, which sounds like this pretty disgusting. And these are bone crunches. And then lastly, we have some limbs being ripped off, but altogether they make a cacophony of awful grossness. Now, on top of everything being played together, this is what that Gore kind of sounds like. So it’s pretty effective.

I have some limiting going on. You can see some pretty heavy limiting on these tracks because I want to bring that door up to sit on top of the mix, and it’s not super impactful. So by giving it some heavy limiting, it just lets it sit on top of the mix a little bit more. So don’t be afraid to just crush stuff if you’re working in this type of environment. So on top of all that, there’s this loop of drums with this chant over the top of it, it’s supposed to be like a cult chant.

So the drum loop is all kind of based around this initial loop from the Hell Drums Library, which sounds like this, which has this kind of nice industrial feel to it. The only thing that I would say is really inorganic, but I think it works well because it’s just drums, and it only comes in for the finale. On top of that, I added a more organic drum sound loop to play over the top of that. And that’s a drum library called Siege Drums. It’s a contact library.

And then we have this chant and this chant is made up of a lot of voice processing. So this is what that chant sounds like. The idea was that I wanted this to sound like multiple people in the cult are chanting it at you while they run after you. So just some basic EQ at first. Then we hit Dehumaniser. Dehumaniser is similar processing, but one of the differences on the output section, I’ve pulled down the dry wet so that some of the original performance is still in there because this is multiple layers of John doing that chant.

So what’s happening there is we’re taking multiple recorded passes, layering them on top of each other and just creating a stereo track of the layered passes. Then we’re throwing Dehumaniser on it, kind of giving it some space there. But then we’re also adding some additional processing to give it more of a stereo spread. So this is a Plugin Alliance plugin called Stage that is really nice for creating kind of spread feel. So let’s listen without. So if you have headphones on, you’ll really be able to hear that.

It gets much bigger and then Decapitator again because we’re going to add overdrive to try to bring this track a little bit more, even with the rest of all the distorted drums and things you’re hearing makes it a little fatter. Adding some tape Echo in again for kind of spookiness, but it’s in time with the drums, which kind of gives it a rhythm that’s nice. And then finally we’re applying some heavy limiting so that we can get everything kind of even in a performance with all of our voiceover content to Humanizer is kind of the base of creating that inhuman voice.

And then for a lot of the spot effects like the chains and the Gore and stuff, rather than me going in and laying in sound effects one by one. I’m actually just performing it with my voice and then throwing Reformer on it. And then Reformer does the sample replacement for me, and I don’t have to go in and create that track from scratch. It takes too long. An event like this has hundreds of sound effects. I actually have three full pro tool sessions of just regular pro tools because I can’t afford ultimate just for the sound design for this one attraction kind of shows you how many tracks invoices are needed to create all these different scenes that you drive through and give you kind of the event that you end up seeing in the end, stuff like Reformer Pro stuff like Dehumanizer and then the other plugins that I use just for this one scene are saving me a massive amount of time as I go through and try to build each of these scenes piece by piece.

So it’s important to recognise the tools that you have and to use them to their full creative capability. Even if you don’t know all the tricks, even if you don’t know everything from the manual or whatever. In the end, those incremental bits of time savings add up, especially when you have a deadline. The event opens on this date and we need to get hundreds and hundreds of individual elements designed in time. Sound checked, make edits, make sure it all works, and then the event opens and we’re up and running.

And it’s a beautiful thing when you have the right tools to do the job. So when it comes to Krotos their libraries, their relationships with other sound design groups like Sound Morph and Stuff, the libraries, the plugins, the people who work there are an incredible resource to go to when you need help with sound design, or if you need tools to get the job done. So check out Krotos Audio and if you have any interest in this topic, you want to learn more. Anything like that.

Go ahead and add me on YouTube or Instagram. Just look up Mysticfrequency or go to mysticfrequency.com. All right. My name is Dan Bieranowski, and I appreciate you watching this video with us. And like I said, if you ever want to talk about this nerdy boring crap, feel free to reach out. Thanks.

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The post Sound Designing a Haunted House Attraction with Dan Bieranowski appeared first on Krotos.

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