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
stephencshapiro.com + 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
©bengeron_SD_20240616
ibats-kate.be + 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

FL3SHB4CK
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.

AlienXXX
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
Bubaproducer.com + Triternion.com

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
NicodinSound.com + 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
Maaheli.ee + 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
Linktree

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!

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