Author Archives: Tim Prebble

Sound Design Challenge 02 Winners!

Congrats to everyone who entered the SD Challenge 02!
It was such fun to hear how each person approached the challenge and I was impressed with every entry, well done! Everyone who entered received a free copy of UFX032 PRESSURE STOP RELEASE.
Congrats and well done!

But there was one entry which I felt was truly excellent and really stood out. So I am going to award a seperate special prize for them, for the great idea and execution. Congrats to Aidan Dykes for excellent work, and I am happy to provide a US$200 credit for whichever libraries you’d like.

Before you check out the entries below, first please have a listen to the source material:

That’s it. Just those five sounds!
To be fair, I made myself do this challenge, and enjoyed messing with the sounds just to see what direction they took me. My version is last below… I quite like it & will keep working on it, now that I’m freed of my own constraints!

Aidan Dykes - HISSandaROAR Sound Design Challenge 02 Submission
Aidan Dykes - HISSandaROAR Sound Design Challenge 02 Submission

Aidan Dykes
Sound Supervisor, Sound Designer and Re-recording Mixer
Links: IMDB + Instagram + Apex Post

What spurred you in the direction you chose?
The pressure release recordings have this potential energy quality to them which made me think of something explosive. Also, the quality of the trapped air had this singing tone at times which made me think of wind, or something traveling through air at an alarming rate!

What DAW/plugs/techniques did you use?
Pro Tools! I worked in 192k to have max flexibility for elastic audio processing, which I used frequently. Lots of time stretching, reversing, and utilization of reverb/delay sends (Revibe and ModDelay III) to give a sense of space. I used FabFilter Pro Q3 & Pro C2, some Soundtoys plugins (namely Devil-Loc for saturation).

How much time did you spend on it? How many versions?
I spent about 3 hours on it in total: thinking of the direction, gathering source materials from the prompt and editing/mixing.

Thunder + Rain  Generator - Sound Design Challenge 02 from HISSandaROAR
Thunder + Rain Generator - Sound Design Challenge 02 from HISSandaROAR

Stephen C Shapiro
Sound Designer, Freelance + LinkedIn

What spurred you in the direction you chose?
I brought the provided recordings into Soundly and listened through them at different speeds. I immediately honed in on the Sanken recording for its incredible frequency response. At around 10% speed, the second air burst immediately reminded me of thunder.

What DAW/plugs/techniques did you use?
I brought that sound into Reaper with some Echoboy Jr., and that was the main thunder sound. I found other parts of the recording that sounded like electric sparks and rumble to fill out the thunderclap. I felt it needed some rain to set the scene, so I brought some other snippets into Kilohearts Phase Plant and used a granular synth to create a rain generator patch. I also used PA bx_subsynth, Boom Uberloud, and other Kilohearts plugins like their reverb, distortion, and limiter.

How much time did you spend on it?
It took about an hour to complete.

©bengeron_SD_20240616 + IMDB

What spurred you in the direction you chose?
Just for fun!

What DAW/plugs/techniques did you use?
iPad: CUX100K=>Borderlands=>SpaceCraft.
Mac mini: CUX100K=>RX10 (Lasso+commandeC+shift commandeN + Time+Pitch + Variable Pitch), ptx Edit and Reverb Stratus, no plugin.

How much time did you spend on it? How many versions?
5 hours in all, mostly for RX calculation time, 30 minutes on iPad, 3 hours with RX, 1h30 for editing, reverb and mix. Only one version, validated by my wife 🙂 30 minutes for streaming versions
Au plaisir!

Starfield Ship Landing Redesign | Hiss and a Roar Sound Design Challenge
Starfield Ship Landing Redesign | Hiss and a Roar Sound Design Challenge

Andrea Carsenzuola
Sound Designer
Youtube + Twitter + LinkedIn

What spurred you in the direction you chose?
What DAW/plugs/techniques did you use?
How much time did you spend on it? How many versions?

I’ll share here a breakdown video with commentary, where I show a little more in depth what I did. The whole design took me about 2 hours, the other details should all be in the breakdown video! Thats it!

HISS and a ROAR Sound Design Challenge 02 Breakdown
HISS and a ROAR Sound Design Challenge 02 Breakdown
Small Case Jam Sessions #15
Small Case Jam Sessions #15

sound designer
Youtube + Twitter + Soundcloud

What spurred you in the direction you chose?
I was thinking of this kind of “sampler krell patch” for a while, so I saw this challenge as an opportunity to do it

What DAW/plugs/techniques did you use?
I processed and edited the samples on Ableton Live (Grain Scanner, PaulStretch, Helisert, Vector Grain, IM Mover/Scrub, Outer Space, Holder, Pitchloop 89, PERMUT8,…) patch notes in the video description.

How much time did you spend on it? How many versions?
4 hours on Ableton Live, 1 hour to make the patch and record 3 takes, kept the last one.

Under Pressure
Soundcloud + Freesound

What spurred you in the direction you chose?
What DAW/plugs/techniques did you use?
How much time did you spend on it? How many versions?
Most of my sound design activities have been in a musical context, so that was the obvious direction for me to take here.The biggest challenge was that the source material contained only one small pitched sound. I had to resort to some trickery to create other pitched sounds for my musical composition. – Mostly I used granular processing as a starting point so I could stretch portions of the initial sound material. In first instance, the granular processing itself was used to create a pitch (artifact from the granular processing). – That is how I created the bass sounds.
To create the other pitched sounds I applied additional processing to parts of the source material using resonators and/or comb filters and also spectral processing.
For many of the sounds, I found that I had to use a combination of processing online (i.e. in-the DAW) and offline (i.e using other programs, in this case Audacity).
It had been some time since I had done such intensive sound processing / sound design. This was a useful reminder of how far you can take a sound from its original timbre if you are willing to take the time and experiment. – The reward is that the end result will be something totally unique. Sounds that are yours and yours alone and that no one else has heard before.

Hiss and a Roar PressureStop Challenge submission
Hiss and a Roar PressureStop Challenge submission

Designed video

Hiss and a Roar PressureStop Challenge source files example
Hiss and a Roar PressureStop Challenge source files example

Source examples

Zdravko Djordjevic
Audio lead / Sound designer +

What spurred you in the direction you chose?
I had a few options that I had in mind. One was some sort of space ship sounds and doors but that felt somewhat easy to do and it didn’t really spark my imagination. I thought it would be cool if I can go crazy with these sounds. After few tries I knew I wanted to make some sort of ability or a special move. I looked for a footage around youtube and found Destiny 2 abilities video. I then picked one clip that I felt was right. Rest was pretty much source creation and composition.

What DAW/plugs/techniques did you use?
Before starting I experimented with stacking various plugins in Reaper. There are known tricks like 10, 20 Flangers, 10 OTTs etc., so I made bunch of chain presets that would create me some interesting results (source material). I was looking for a lot of movement so there were plenty of flangers, phasers, dopplers etc. Traveler was the main star for creating impact sounds. I used a lot of transient shapers like Transgressor for the pops, soothe2, fabfilter stuff for controling the sound. Also a lot of spectral shapers.

How much time did you spend on it? How many versions?
I would say around 4 – 6 hours. Having a family and full time job doesn’t leave me with much free time to experiment. So when I do I have to be super efficient when creating source material and making compositions. It took around 1 or 2 versions before deciding on this one. I would still consider this one proper version 1 since there are still things that need polish.

Some of the weirder chains:

Hiss & Roar Sound Design Challenge 02 - Laser Guns
Hiss & Roar Sound Design Challenge 02 - Laser Guns

Nicola Dinelli + LinkedIn + Instagram

Some words about the process:
I created these short sounds in about 2 hours. I started without a specific idea in mind but wanted to make the most of the transients from these beautiful recordings.
So, in Reaper, I created layers by overlapping the clips and extensively use of timestretch. I did some bouncing and processed the sounds in a Phase Plant patch – screenshot – created on the spot to highlight the impulse characteristics – curve as modulator – that interested me and to give a tonality through granular synthesis, the formant filter, the phaser, and the convolver. From this patch, I obtained source material which I exported and reinserted into the same instance of Phase Plant until I achieved sounds that satisfied me in terms of impact and variation in time.

Beat Made Using 5 Samples Only
Beat Made Using 5 Samples Only

Robert Harris
The Robba
LinkTree + Bandcamp + Youtube

What spurred you in the direction you chose?
I was keen to see what they would sound like after chopping it up with the sugar bytes egoist plugin

What DAW/plugs/techniques did you use?
Fl studio, Sugarbytes Egoist, eqs, compressors etc to make the sounds nice and percussive.
I slowed the samples down to create a background atmos with impacts… then manipulated them in original speed in egoist for the beat

How much time did you spend on it? How many versions?
I spent 3 hours on it over 3 nights, the first night it was 90% there, then some changes and mixing over the next 2 nights..

John Grzinich
Unknown Pressures + Bandcamp

What spurred you in the direction you chose?
Recently I’ve been interested in the possibility of detecting ultrasonic and infrasonic frequencies picked up by “normal” microphones when recording at high sample rates (above 96khz). This actually works quite well with small electret capsules. I’ve recorded bat calls and sonar with Primo EM272s. I thought it would be nice to try this with your high quality files and see what comes out.

What DAW/plugs/techniques did you use?
I took the Pressure Stop samples and did brick wall LP and HP filtration at 22hz and 19Khz to remove all the audible frequencies. Then I pitch shifted the tracks up by 250% and down by 25% to bring what is left into the audible range. The ‘ultrasonic’ sounds were processed a bit with MI Beads but the ‘infrasonics’ I used as is for composing in Reaper. The piece you hear is just a sketch, but it’s based around the idea of giving attention to “phantom” sounds that exist beyond our perception (and in some cases exist in our own recordings) that we normally wouldn’t hear without special processing.

How much time did you spend on it? How many versions?
I had a quiet morning shortly after I saw your announcement so I jumped on the opportunity to experiment.

Greg Hooper
sound and music: Bandcamp + video:  Vimeo

Mostly this uses a tiny bit of tonal material from the very last sound played at various sample rates to change the pitch and change the inherent rhythmic material. Processed with the great Atomic Transient vst to get in there and bring out the rhythm.
The other material is made using Anemond’s Factorsynth and Factoid to play around with a factorised decomposition of the entire file Tim provided.
I was looking here to try and get as much as I could from as little as possible as far as FX goes – I wanted to avoid completely changing the material into something that was not really there in the original.

Tim Prebble

I made myself do this challenge so I could appreciate how difficult it was. I started off in Metasynth, playing around processing (pitch curves, resonators etc) and analysing/re-synthesising each of the sounds… Then in ProTools I chopped up some tiny bits, comp’d a file and dropped it on VICE sampler in ableton LIVE. VICE auto sliced the file and keymapped it for me. I then played VICE, first using abletons ARP and holding down random notes until I found a rhythm I liked, which I would then record to a track, while changing the time division (eg from 1/8 to 1/32 etc). I also played VICE using ableton Rotating Rhythm Generator MIDI generator. I then imported those printed glitchy rhythms & the Metasynth sounds back into ProTools and started trying to give the elements some form. I made some bass/kick sounds using GRM Reson… And I used Effectrix v1 and v2 on some of the glitchy rhythms to add squelchy resonance etc… I think every track has Cytomic The Drop on it, either to lose some top or bottom end, or to add some variation with an LFO slowly moving the filters… I used two effects sends with Blackhole verb on one return and FabFilter Timeless3 on the other. Messy & fun… and the bass makes my windows rattle! Final output is version 4 and I likely spent 3 or 4 hours messing around with it. It was fun and good to motivate me to get back into Metasynth.

There you have it folks!
I find it fascinating to hear the results but also to get a little insight into how each person thinks creatively, and works.

Expect HISSandaROAR SD Challenge #3 to start early July!

EDU15 Schedule for Sound Editorial

An important part of pitching for a film and then hopefully negotiating and finalising a budget for the sound design is working out the schedule. Sometimes people like to talk about budgets as a total, but it’s always important to remember that we’re talking about humans. If you hoped and planned for a budget of X and the producer sets a much lower limit of Y, the reality may well mean that some people get dropped off the project, or have their scheduled hours reduced. This also impacts the scope of the work able to be achieved.

Now I don’t claim to have any great oversight of an entire industry, I can only speak from own experience working on films based in New Zealand which ranged in budget from very low/no budget up to US Studio films with total budget around US$30mill.
It’s also important to point out that (a) NZ does not adhere to Union rates – the Hobbit Law dealt a blow to that idea. And (b) my primary film sound design career occurred between 1997-2014. A lot has changed in the last decade, and talking to locals many can only dream of having the budgets for indie films that we used to have. So while the specifics of what I describe cannot be instantly transferred to your own situation, the methodology can.

Apart from the Producer & Director, there are two other people who you will be collaborating with on your schedule & budget.

This role didn’t really exist in my early days and/or on lower budget projects, but it is an important role as a Post Supervisor usually brings a lot of specific experience with them. While they work for the Producer, their aim is to help make the best film they can while avoiding or minimising budget over runs. For example, lower budget projects might have a rule of “no overtime” simply as they are working with a fixed budget and cannot afford it. But even on larger projects eg where late VFX force us to work overtime, there was a rule that no overtime would be paid unless pre-approved by the Post Supervisor. So if I saw a crunch in the final days of a mix due to VFX, I would talk to each member of the team to find out what they needed, and then I’d meet with the Post Supervisor to discuss it & have it approved.

This will be very specific to where you work. In NZ, most film sound editors are freelance and are hired directly by the films production company. As Sound Editorial HOD it was my job to create a schedule & budget for all of the sound editors (FX, Dialogue, Assistant/s, Foley editor) as well as budgeting for the associated studio rental for each person. I would also budget for the time each of us will spend attending the predubs, mix and deliveries. Accordingly I would need to talk to the Mix facility to make sure we were in agreement about the amount of time required for Foley recording, predubs, final mix and deliveries. They would usually also have very accurate info about the schedule for deliveries too. Here in Wellington, the film mix facility is Peter Jacksons gorgeous Park Road Post which has two huge dub stages, a third smaller dub stage and a large foley stage.

I’ve always used my standard calendar schedule app for creating my Film Sound Post schedules. Nowadays thats BusyCal for OSX but the main point is flexibility as schedules will change. BOY is a good example of this. I was asked if I would mind delaying my start date by two weeks, due to the cut still changing. I wasn’t too keen on this idea as I felt delaying me was not necessary – I had lots of work to start into, for example editing & cleaning up all the recording I did when I visited set. And we had Conformalizer by then, so while conforming to a new cut wasn’t fun, it was possible & relatively easily achieved. I had also turned down other work, to be available for their project. So a compromise was agreed on where I started on my original date but worked half weeks for four weeks, and this was a really fun way to ramp up to speed on a new project!
See below for an example schedule


In my early days the only cut we worked to was a locked cut, as both the technology & the cost made it a necessity. Back then, day 1 on a project meant the cut was locked. Now, many projects are not fully locked until the end of the final mix and mix fixes, just prior to deliveries. I’ll share an anecdote about my worst experience with unlocked cuts at the end of this post… But for a typical film project, a locked cut would hopefully arrive weeks before predubs start, and if not hopefully before the final mix starts. Otherwise more resources need to be budgeted for to cope, without burning people out or missing deadlines. Missing a deadline is one thing that cannot happen, if you wish to have a long and prosperous career.

DX and ADR
When discussing the schedule & budget with the Dialogue Supervising Sound Editor, it is common to also request estimated dates for when ADR recording might be scheduled. This is important as availability of actors can be a challenge, as they may be on another film, and/or in another country when we need them for ADR. Time is required to assess the production sound in detail, checking for alt takes & then checking those with the Director for performance, to provide an accurate estimate of the amount of time required for each actor, and for loop group.

Foley recording would usually be back timed to the predubs and mix, since the ideal is to work to a locked cut. Obviously it is important to allow enough time for the Foley Editor to inherit all of the work, compelte their work, including conforms to new cuts, before the scheduled Foley predub.

For sound effects and ambiences, a useful task for the schedule is to identify what resources you have and what you will need to record. For example, recording vehicles or specific ambiences or sound effects.
As you do more projects you also learn how long it takes to achieve certain aspects. I really love cutting ambiences and over the years I knew I could do a basic first pass in 1 week, but it would take 2 weeks to shape and evolve them, and a total of 3 weeks to have them conformed, updated from Directors feedback and ready for predubs. Such knowledge helps me prioritise my work. For example on the Antarctic doco A YEAR ON ICE, I knew the ambiences would be very important and not straight forward, so I allocated time & budget accordingly.
It is also very useful to identify subjective elements of the sound design. As an example, if there is a particular car in a film and you record it well, and edit together all the elements, then a Director’s input is likely to be about tweaks and refining the elements. Whereas you might present version 1 of a creature vocal, and from feedback scrap that version and start over from scratch for version 2. There is a saying, I think attributed to Rany Thom, that early in the schedule is the best time to be experimenting. We know we can keep chipping away at the ambiences throughout our entire Sound Editorial schedule, but that creature vocal is going to need a lot of evolution and versions, so the sooner you can get a good version in front of the Director, they better. Regardless of any fears, never put off any difficult work as you will only make it more stressful for yourself. Week 1 the stakes are low, whereas the week before predubs the stakes are far higher.

In my early days I just used an Excel spreadsheet to calculate the budget for Sound Editorial, but at some point a Post Supervisor shared the standardised form they use which is tied into standard film accounting practices, with correct code allocations for each part of the budget. Here is a copy of my Sound Editorial Budget template (formats: xls, xlsx, ods and pdf) download link

NOTE: in the spreadsheet the yellow cells are where you fill in the rates. The green cells are where I had Excel formulas to calculate totals. I have removed all formulas, as it is critically important that you do your own maths and check it. And check it again!

Below is a screenshot of the template, so you can get an idea of its purpose and formatting:

Once I had been working in the film industry for a decade or so, I did some analysis of all the films I had worked on. I did some searches to find the total budget for each project and created a simple spreadsheet which listed:
– Film Total Budget
– Sound Editorial Total Budget
– Total Weeks Sound Edit
– Percentage: Sound Editorial Total Budget/Film Total Budget

That last figure was very interesting to compare, especially having intimate knowledge of how well the project was achieved and the final outcome. If you are working in the industry I highly recommend doing this for your own work history, as it can reveal trends but it also provides an indication of whether a budget you are proposing for a new project is within the ballpark or not. And if for example, you present a hefty budget to a Producer and they ask you to justify it, it is really reassuring to be able to sight previous work. For example in my case, if a film had a lot of VFX in it I have three projects I have worked in with major VFX, which I can refer back to. I am not guessing what a project might take, I am estimating it based on previous experience and with the proviso that some projects go better than others. If the production makes your life difficult due to late VFX delivery, then the Producer needs to know there is a cost associated with that. No one likes surprises, and the old saying of “Post production is about preventing problems before they occur” holds true here too. Providing a realistic budget, based on previous experience, with contingency for over runs that are beyond our control, is something a good Producer will respect. Even if they don’t like the news, it is far better to discuss it before it happens, as it also provides an incentive for over runs to not happen.

A useful resource for comparing different scales of projects is available via the Editors Guild website: Wages and Contracts where you can select a similar scale film to what you are budgeting, and see what the Union rates are in the US for eg a Sound Editor or a Supervising Sound Editor etc… Also documented are overtime rates. How these figures relate to your work will vary hugely. But if a US Studio film comes knocking on your door, then you can at least check what they would be paying, as a minimum, if they were completing their sound post in the US.

Another useful resource is the Blue Collar Post Collective’s annual rate survey: “A simple rates survey was conducted in October 2022. We asked 14 questions to gather basic data with the aim of helping people have a better idea of what people are getting paid to do various jobs in post production, across the U.S.A. We had 2050 responses…. The full results can be viewed on Google Drive, and from there you can download a variety of formats. We recommend the Excel format which will allow you to filter and sort the data to your specific needs.”

EXAMPLE 1. Indie Feature Film – first time Director

For all the films I ever did, the absolute bare minimum schedule for a feature film was:
Sound designer ie me (including Sound FX + Ambiences) FX = 8 weeks
Dialogue + ADR editor: DX = 8 weeks
Assistant Sound Editor: 4-8 weeks
Foley Editor: 3 weeks

Predub + Mix attendance
DX = 1 week predubs + 2 weeks final mix + deliveries
FX = 1 week predubs + 2 weeks final mix + deliveries
FOLEY = 2-3 days

At this scale I did many feature films early on, and it was only as some of those directors progressed to their second film, with a larger budget, that my team could become a little larger.

A schedule for a project of this scale would look like this (it should have the Assistant listed too)

EXAMPLE 2. Indie Feature Film – Directors second film

The next step up would be:

Sound designer (including sound FX + Ambiences) FX = 8 weeks
+ Sound FX Editor: 4-8 weeks
Dialogue + ADR editor: DX = 8 weeks
+ ADR editor: 3-5 weeks
Assistant Sound Editor: 8 weeks
Foley Editor: 3 weeks

Predub + Mix attendance
DX = 1 week predubs + 2 weeks final mix + deliveries
FX = 1 week predubs + 2 weeks final mix + deliveries
FOLEY = 2-3 days

So with a bit bigger budget two more sound editors were brought on to the team, the workload is shared a little wider and deadlines like predubs become less stressful. This is a similar schedule as we had with BOY.

EXAMPLE 3. Studio Film – Mid Tier eg 30 Days of Night

Supervising Sound Editor/Sound Designer
Prep  = 4 weeks + Post = 13 weeks + Mix = 7 weeks. Total 24 weeks

Sound FX Editor 1:
Post 13 weeks + Mix 6 weeks

Sound FX Editor 2:
Post 7 weeks + Mix 6 weeks

Sound FX Editor 3 + Foley Editor:
Post 10 weeks + Mix 3 weeks

Assistant Sound FX Editor
Post 7 weeks + Mix 4 weeks

Supervising Dialogue Editor
Post 13 weeks + Mix 7 weeks. Total = 20 weeks

Dialogue Editor
Post 7 weeks + Mix 7 weeks

Dialogue/ADR Editor
Post 3 weeks

Assistant Dialogue Editor
Post 7 weeks + Mix 7 weeks

You can see how much a larger budget film escalates the resources required.

Some notes:
– when discussing the requirements for the project the requirement for Test Screenings became apparent. This is why I have extra weeks allocated to my schedule: I started early so i could provide temp FX and Ambiences for the Picture Editor, and to start development so I had time to prepare material and then cut it in to a rough cut for the Temp Mixes.

– 30 Days had significant VFX so I knew I needed to keep the team on during the final mix, to conform an prep new material as required. And to cut any fixes while I was on the dub stage.

– 30 Days involved complex locations – Antarctica, plus complex industrial interiors eg the Muffin Muncher etc

– 30 Days involved creature vocals, which the Director & Actors had developed but required lots of ADR which both myself as Sound Designer & the Supervising DX collaborated on…

EXAMPLE 4. Studio Film – God Tier eg LOTR, Blockbusters etc

No thanks.

I am always reminded of the saying ‘Be careful what you wish for’ and have a dear friend who slowly worked his way up to the top job as a Supervising Sound Editor on films at this level. He expressed regret for the path his career had taken, as he described the huge amount of work supervising a team of such large scale. His dream role turned out to involve ENDLESS admin. In the teams I worked with, even 30 Days of Night I could drop in and have a five minute chat with each sound editor and soon know where they were up to etc. The management of a team of that size did not detract much from my own work, because I always insisted on my role as Sound Designer being my first priority and a sound designer makes sound, they are not middle management. So over the course of my career I was very careful to not cross over into projects where the scale impinged on my ability to design sound.
This is not a criticism of the people who do manage such teams. They have my profound respect, and like anything, as you gain experience at that thing you become more comfortable with it. But it was never a skill or role that interested me. I want to make sound & contribute directly to the soundtrack, rather than work on ever changing schedules, and budgets while managing a large team of people.

Over the years I felt I found the sweet spot, where a film had the budget & resources to be achieved to an excellent standard. But without burning myself & my team out. I can only think of a very few situations requiring an ‘all nighter’ or where we had to work seven days a week. But in that God Tier of film making I know plenty of people who did 100 hour weeks for months on end. 100 hour weeks = 14 hours a day! Get to work & start at 8am, finish work to head home at 10pm. Every day. No days off. For months. People can lose their health, sanity and their relationships working such hours. But working at that level often means no is not a viable option. And yet no amount of overtime payment will overcome regrets. Most of all, it is not sustainable. So be careful what you wish for, because you might get it!

New Instruments

It is amazing to see so much innovation happening with musical instruments.
These are two projects that are breaking new ground:

Inside Korg Berlin HQ with Tatsuya Takahashi

Inside Korg Berlin HQ with Tatsuya Takahashi

Very interesting interview & demoes of the prototype Acoustic Synth at Korg Berlin
Really exciting to hear him discuss how customising the resonators/tines is encouraged…



Meet the Chromaplane - New Electromagnetic Synthesizer

Meet the Chromaplane – New Electromagnetic Synthesizer

KOMA – Chromaplane
wow what a genius idea!!



A Hidden World Awaits – Eternal Research  – Demon Box – Teaser Demonstration Video – Spring 2024

A Hidden World Awaits – Eternal Research – Demon Box – Teaser Demonstration Video – Spring 2024

Another interesting take on EMF – Demon Box



Sound Design Challenge 02

Five Pressure Sounds – Spectrum of the Sanken CUX100K output 24bit 192k

With an interesting new UNIT FX Library just released UFX032 PRESSURE STOP RELEASE we figured it would be fun material to experiment with. Based on restricting flow with negative/vacuum pressure and positive pressure from an air compressor, the sounds have a very fast, sharp attack and as the spectrums show contain a lot of high frequencies, right up to 96kHz.

If you would like a free copy of the new UFX032 PRESSURE STOP RELEASE library, then I have a challenge for you. I’ve chosen five sounds from the new library, and your challenge is to make something interesting with them. I am not going to dictate what you should make, I’d like to be surprised by your creativity… Surprise me! The only rule is that no other source material can be used. Only the five sounds in the provided 24bit 192k WAV files.

Direct download link: expired
56MB as a 3 x 24bit 192kHz WAV files

To be crystal clear: each file contains the 5 sounds as per the FFT.
And I have provided all three sets of mics, hence the three files.
Do whatever you like to the sounds. Process with plugins, apps, outboard, anything!
I’m doing the challenge too, so far been playing in Metasynth
its a good opportunity to try out some ideas!

Submissions: send an email with a link to your work to:

Please do not send attachments! Upload to youtube or soundcloud or somewhere, private or not – thats your choice. I am not doing this to make you spam social media- it is solely to encourage interesting work! And to provide the opportunity to experience working with 192k audio from the Sanken CUX100K mics.

An anecdote about this sound:
As I’ve mentioned many times before I grew up on a farm, and my Dad had a workshop for doing any repairs to farm equipment. One of the sheds had an electric air compressor mainly used for inflating tyres, but there was a sonic phenomena associate with it that I have never forgotten. Whenever he finished using the air compressor and turned it off, it would make a very loud pop sound, much like what I have captured for this UFX library. And every single time that occurred, the sheep dogs outside in their kennels would all instantly bark in reaction.

Many decades later I am working on the film World’s Fastest Indian (IMDB + Trailer) which is about local legend Burt Munro who tinkered with his Indian V Twin motorbike until he eventually managed to set a land speed record in 1967, as a 68-year-old: a new official land speed record – 184.087 mph with unofficial top speed of 205.67 mph.

In the film the first Act is about his early years experimenting. At one point Burt goes into his workshop, and uses a compressor. So what do I do? I get some appropriately reactive dog barks and add them, as though his neighbours dogs react the same way my Dads dogs did.

You might wonder, who cares? But think about it. Not only am I adding something authentic & truthful from my own personal history to the sound design of the film, I am also reinforcing that the film exists in a real world, with real neighbours, who probably complain every time Burt sets their dogs barking. Small details like this contribute psychological elements without anyone really noticing consciously. This is also why as a sound designer it is so important to be observant of your environment. Wearing headphones listening to a podcast or music is fair enough at times, but it should not be your default.
You must listen to the world, observe it and remember it.



Five Pressure Sounds – Spectrum of the Sennheiser MKH8040 output 24bit 192k