Ever since the NES days, Nintendo’s been king of melodic sound design, and they were already masters of it by the time they made Super Mario Bros. These sounds employ musical ideas in ways that perfectly describe their animations, and even though it’s been 30 years since they first spilled out of a CRT TV’s speakers, they still suit the series perfectly.
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!
On this page, I want to explore the magical place where sound design meets melody and rhythm. I’m going to start a repository of classic sound effects in musical notation and MIDI, along with analyses of the sound design techniques each one employs.
Learning a synth is a lot like getting to know a person. You can’t jump straight to the deep stuff; there are handshakes to be made, pleasantries to exchange.
One of the most useful skills for a modern audio engineer, right up there with tasteful reverb application and being able to tolerate working with musicians, is finding affordable options for the many, many, many expenses we encounter.
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.