Battery has a simple random articulation setting under the apt moniker of Geiger Counter. Here’s a short post to explain how to get the most out of it.
It’s easy to forget about the simpler tools in any bag of audio tricks. We all want to reach for a nice distortion plugin, or an expensive compressor, or some complicated EQ sculpting, but sometimes all that’s needed is basic volume envelope editing.
Engines, ambience, rain, rivers, wind, and fire are just a few of the sounds that almost always get implemented as loops, and there are lots of great sampling techniques that take advantage of looping sounds. I’ll guide you over some of the pitfalls in designing loops so that your audience will never notice that a sound’s repeating.
The thrilling conclusion, where I’ll go over some of the editing and mixing techniques I use to make my gunshot sounds!
I’ve always had a mind more analytical than creative, more scientific than artistic, and so when I make sounds, I find it helps to understand the objects I’m designing for.
Part 1 in a three-part series on making automatic weapons sounds that don’t suck!
Today I’m making a couple futuristic engine sounds that are easy to edit to video or implement in a game engine.
The gun tutorial video’s on hold for a little while. Promise I’ll get to it soon. Soonish. Eventually.
Lately I’ve had little to do but entertain my nephew by making robot voices and I thought I’d write an article on techniques you can use to do the same.
Traditionally, loud music is made loud mostly in the final stage of production: mastering. Recording engineers capture recordings with wide dynamic range, mix engineers use compression strategically to make the various tracks work together, and a mastering engineer reduces the dynamic range of the mixed track as a whole to prepare it for duplication and broadcast.