Hello everyone. Today, I’ll try to demonstrate how combining two simple approaches can easily create a more refined or sophisticated output. This is something I’ve noticed over time: Trying too hard inside a certain workflow can be counter-productive after some point and sometimes it’s much easier and effective to mix things up a little. The two elements I’m talking about here are the standard sampler options in Renoise and a couple simple CDP processes. So, let’s get started.
Hi. Welcome back to another Exploring Sounds tutorial. This week’s post will feature a plugin bundle that I’ve started using recently, Melda Production’s MFreeEffectsBundle. It’s a great freebie package offering tons of different effects. Some of them are your usual phasers and flangers but there is also some rarer stuff in there such as a frequency shifter or a noise generator. The only downsides for me are the slightly odd interfaces and the huge installer. Which is nothing compared to what you get for free, really. I’ve barely explored the possibilites yet with so many plugins and options but that didn’t stop me from making a sound design post with them.
So enough chatter already, let’s jump in. The sound we’ll be mangling is a wind instrument (Flute? I can never tell.) sampled from an old record.
Hi. Recently I’ve been demoing this fantastic multiband distortion plugin, Devastor. It’s the first distortion unit I’ve come across that can sound good on pretty much any source or occasion. It’s almost impossible to not add a raw vintage quality to the sound you put it on to and the filters sound great. (And add some really cool movement when automated.) All in all I’m definitely blown away with it so far.
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.
Hello. In this episode of Vorpal Sounds, we’ll have a go at making some incidental sounds. My definition isn’t probably very accurate but the idea of an incidental sound for me is something that’s not really musical but still supports the track’s structure by adding a little bit of freeform texture or ambience. I’m fascinated by these type of sounds but being overly analytical, I usually struggle to just pull some random samples into a song. So this sort of process is something that can sometimes yield cool results for that purpose.
Right, let’s get started now. The sample here is a little snippet from a movie. It’s short but has a nice mix of atmospherics and foley.