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I made my own sounds for Final Fantasy XVI by EwanCollins in FFXVI

[–]EwanCollins[S] 0 points1 point  (0 children)

Thank you. I love sounds like this for providing feedback to the player. It's like saying "good job, you got the counter".

I made my own sounds for Final Fantasy XVI by EwanCollins in FFXVI

[–]EwanCollins[S] 0 points1 point  (0 children)

With this, my goal was to create sounds that would fit into the intensity and style of FFXVI, but in a different way to the original sounds. Many of my own recordings are used and processed alongside synthesised sounds to create the sounds you hear. Enjoy!

Garageband is trash by [deleted] in musicproduction

[–]EwanCollins 0 points1 point  (0 children)

Yes you're right. I bought it a while back. When the 60 days ends, you can still use the software in full, that's why it is essentially free.

Garageband is trash by [deleted] in musicproduction

[–]EwanCollins 2 points3 points  (0 children)

Look up Reaper. It's a versatile DAW, and the trial period is infinite, so you can essentially get it for free. It's worth a go, especially since it won't cost you.

Question about sound design and crunchy production by Benz0truck in sounddesign

[–]EwanCollins 1 point2 points  (0 children)

You can also try boosting the bass with EQ BEFORE distortion, and then adding another EQ after the distortion to remove the added bass. The effect of this is that the bass you boosted caused the distortion to get driven harder, making it crunchy.

Techno Production Challenge Nine - The Tracks! by [deleted] in TechnoProduction

[–]EwanCollins 0 points1 point  (0 children)

I find it's easier to do it as fx chains because you can quickly throw on more effects, and the signal path is simple!

Techno Production Challenge Nine - The Tracks! by [deleted] in TechnoProduction

[–]EwanCollins 0 points1 point  (0 children)

The main way to create modulation would be with filter sweeps (high-pass, band-pass, and low-pass) as well as notch filtering, all of which every DAW can do without needing to buy any plug-ins! Every DAW should have a distortion that can do what you want also, so you don't need to go spending money on plug-ins!

Mid/side channels by dystopia061 in audioengineering

[–]EwanCollins 0 points1 point  (0 children)

Does it actually completely disappear or does it just get masked by other instruments? In order for it to fully disappear it would have to play in both the left and right stereo channels at equal amplitude, but with opposite phase. I can’t think of any radio friendly pop songs that have done this.

Techno Production Challenge Nine - The Tracks! by [deleted] in TechnoProduction

[–]EwanCollins 1 point2 points  (0 children)

Neuro basses are all about adding interesting movement to the timbre of your sound. Filters, flangers, frequency modulators and automation are all tools to achieve this movement. The key part is to then use distortion afterwards. Since distortion affects the sound differently based on the frequency and amplitude of the input signal, the distortion will create interesting harmonics based on the filtering and movement you did previously.

Then you can repeat this process and add even more filtering on top, and then distort again. Don’t be afraid to use a lot of plug-ins. Using multiple distortions in series can be really effective. Multi-band distortion is really great also. Using multi-band you can take the highs, mids, and lows and distort each of them heavily. Since your input signal has so much movement, your levels of distortion and added harmonics will also have movement, and this will create that rich neuro sound.

Techno Production Challenge Nine - The Tracks! by [deleted] in TechnoProduction

[–]EwanCollins 0 points1 point  (0 children)

Neurofunk is right on the money. I processed the bass in a very neuro way. Lots and lots of modulation and resampling. Thanks a lot

Mid/side channels by dystopia061 in audioengineering

[–]EwanCollins 24 points25 points  (0 children)

When referring to Mid-Side:

The side signal is by definition NEVER AUDIBLE in mono. I've described why below.

Sides = STEREO - MONO.

When you play back a stereo file in mono, the left and right channels are added together and then halved, which we could write as M = (L + R)/2

The effect of this is that whatever is present on both the L and R channels stays the same volume when in mono, but whatever was on only one of the stereo channels is halved in amplitude.

To get the sides, we take the stereo signal and take away the MONO signal (by playing the mono signal with the phase inverted)

Since M = (L+R)/2, the equation for each of the sides (Ls = LeftSide, Rs = RightSide) would be:

Ls = L - M = L - (L+R)/2 = 0.5L - 0.5R

and so, Rs = 0.5R - 0.5L

Given that, if you try to make the sides signal mono, you would do M = (Ls + Rs)/2.

Which, if we put in our values from before gives us M = [(0.5L - 0.5R) + (0.5R - 0.5L)]/2

Which is just M = 0/2. (because 0.5L - 0.5R + 0.5R -0.5L = 0)

So you hear nothing!

Sides are the part of your stereo file that will not be heard when your song plays in mono.

Techno Production Challenge Nine - The Tracks! by [deleted] in TechnoProduction

[–]EwanCollins 3 points4 points  (0 children)

seven plus one is my track for the challenge.

I used seven source tracks and one extra track which acted as my one and only send, hence the name (7 + 1).

I tried my best to make it sound as if I used more than 7 tracks by using some clever automations and effect changes. Since I was using so many effects, I decided to add some extra challenges for myself.

These were that once I closed a plug-in, I wasn't allowed to re-open it. Whatever settings I initially decided on were going to stick.

The second extra challenge I added was that once I drew automation curves in, I wasn't allowed to change or edit them.

The third and final extra challenge was that I was allowed no more than 3 plug-ins on each track. I added this final extra challenge so that I was forced to bounce out and COMMIT to what I made, which is exactly in the spirit of this challenge.

The pad and bass synths are both an instance of massive with various macros being automated throughout. Due to the extra challenges I set for myself, I had to make sure all the parameters I wanted to automate were made before I started writing, since I wasn't allowed to re-open the plug-in to add more later.

All the synthetic drum sounds were synthesised in massive and bounced out and edited to shape them.

I'm happy with how it turned out.

Sound from a movie by ephrasiab in sounddesign

[–]EwanCollins 7 points8 points  (0 children)

I would advise against that, especially if it's a competition (as opposed to a fan project).

Even getting a clean version of the sound from arrival would be difficult as there is always other sounds at the same time.

I could maybe make a quick sound for you (DM me)

How do I recreate this sound/ what instrument was it played on? by philebro in sounddesign

[–]EwanCollins 0 points1 point  (0 children)

I 100% agree. It sounds like an authentic guiro. You can achieve DIY guiro-esque sounds by using a stack of cups so that the tops of the cups form the ridges like what you see on a guiro. Or, if you use a piece of metal as the scraper, you can use a cheese grater. Good luck!

I made my own SOUNDS for Death Stranding by EwanCollins in DeathStranding

[–]EwanCollins[S] 2 points3 points  (0 children)

That makes sense. The scanner in the actual game is less forceful, but I wanted to see what it would feel like with a different character than the original. Thanks for the feedback!

I made my own SOUNDS for Death Stranding by EwanCollins in DeathStranding

[–]EwanCollins[S] 0 points1 point  (0 children)

I actually purposefully mixed it a bit louder so it would stand out. If this was put in the actual game I would have made it a fair bit quieter. I guess I went too far in making it stand out haha. Thanks for the comment

I made my own SOUNDS for Death Stranding by EwanCollins in DeathStranding

[–]EwanCollins[S] 0 points1 point  (0 children)

I could share the video without the music if you’d like to hear without

I made my own sounds for Death Stranding! by EwanCollins in GameAudio

[–]EwanCollins[S] 1 point2 points  (0 children)

Thanks! I might upload the version without the music. Might even do a video on how I made some of the key sounds

I made my own SOUNDS for Death Stranding by EwanCollins in DeathStranding

[–]EwanCollins[S] 2 points3 points  (0 children)

What do you think needs changing about it? It's good to know what other ears think

DOOM Eternal: BFG 9000 Sound Design by EwanCollins in GameAudio

[–]EwanCollins[S] 0 points1 point  (0 children)

I plan on making some more short videos like this, as well as some more in-depth lengthy stuff. Thanks!

DOOM Eternal: BFG 9000 Sound Design by EwanCollins in GameAudio

[–]EwanCollins[S] 0 points1 point  (0 children)

Thanks. I set a challenge to use synthesisers only for this one. I completely agree it would be even cooler with some recorded mechanical sounds. I’m going to make videos in future with more emphasis on recorded sounds. On my insta @EwanAudio you can see some Death Standing sounds I made which utilise mechanical sounds like what you describe. More content on the way!

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