Hi. I realized most of my sounds turn out to be on the darker side of things so this week I’ve chosen a more positive vibe to begin with. This sound is from BluMarTen’s fantastic sample pack: JungleJungle. It’s a great collection, and it’s free, so make sure you grab it if you haven’t already.
First thing I intend to do here is shaping the envelope of the sound. Doing that before you start processing can help achieve interesting results. And for that I just reverse the sound and fade out the ending a little. CDP has similar functionality but this time I just went for Renoise as it’s much faster.
Anyhow, this episode’s starting sound is a zipper sample straight out of that pack.
To get things going, I’m using one of my sound design workhorses in CDP, blur. It transforms the zipper sample into a sweet textural sort of sound. The “points” & “overlap” settings help with defining and controlling the details of the blurry motion. There are no rules here, as far as I can understand, so I just go by trial & error when setting them.
Hi. Layering is a quite important concept in sound design and it’s not something I’ve covered much yet. There are two reasons for that. First I’m not very good at it :-) Second, it’s something I usually do in context.
I think the second point is interesting as I prefer any kind of sample to be quite stripped down and basic, so that I can layer, process and tweak as necessary inside a track’s context. But general trend seems to be on the opposite side: People seem to want really “produced” and “full” sounding stuff.
Nevertheless, I still plan to stay on the building block approach most of the times. But this week we’ve got some layering to do. Not to get a super produced sound, but to make it a bit more interesting.
All right, that’s too much talk already. This week’s journey through sound begins with a clip that I’ve sampled from an old record.
Hi. Here’s my entry for InternetDJ‘s EatMe remix contest. I’m not really into house or trance stuff nowadays but I’ve heard the original track on Renoise forums and I quite liked it so I’ve had a go at remixing it. It ended up being a bit weird as I think it’s not in 4/4 signature but it (mostly) works! It’s a free download so grab it if you like it.
Voting for the contest is quite a mission but if you wanna check it out anyway here’s the link:
Hello. Pre-enveloping. Silly term right? You’ll hopefully see (and hear) what I’m talking about soon. I didn’t have a specific goal in mind this week but as I was messing around, I got lucky and came up with a concept. And a sound of course.
And here’s how it started. A random sample taken from a field recording I’ve made a while ago. It’s a short metallic hit. No big deals here.
Hi. Last week I’ve barely touched the greatness that’s quite uninspiringly called “spec-magnify” so this week I’d like to revisit this awesome function.
“Spec-magnify” uses some clever spectral tricks (just guessing) to sustain any kind of sound for as long as you want. It seems to evolve slightly over time so the results can be very convincing. A great thing to have in your arsenal as there’s so much you can do with these kind of sounds when you add some volume, filter and pitch movement. And we’ll just do that in a most basic way for this tutorial.
The sample we’ll be processing is a little field recording from my Zoom H4n again. It’s just a basic rustling sound coming from pebbles or something. It’s short but duration is irrelevant for this process.