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#sounddesign — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #sounddesign, aggregated by home.social.

  1. DADO Lilac Alloy by Tonal Forms 🎛️
    Organic-metallic textural inst. w/ evo. sounds, 31 FX presets, key/scale, dice/variate opts.

    💻 Kontakt Player
    🎁 FREE native-instruments.com/product

    More freeware 👉 linktr.ee/legalvst

    #freeplugin #kontakt #sounddesign

  2. Sample Dicer by Ilya Orange 🎛️
    4-layer one-shot sampler w/ randomize, glitch mode, 20 themes, + more.

    💻 Mac/Win (AU/VST3/Standalone)
    🎁 FREE sampledicer.pro/

    More freeware 👉 linktr.ee/legalvst

    #freeplugin #sampler #sounddesign #glitch #oneshot #musicproduction

  3. Twelfth Night 12N4: Drunks and pirates and songs and schemes

    My last check-in was 7 days ago, talking about the read-through which occurred on Sunday Aug 30th. Cast rehearsals continued after that. I attended the rehearsal on Sunday Sep 6th which focused on blocking of much of Act II as well as Act III Scene 3.

    In Act I, I need to create a gigantic shipwreck/thunder/lightning/surf pounding sound cue, which will be a lot of fun. My goal is to get the audience to collectively jump out of their seats. The goal for the opening of Act II is more modest – a return to the sea coast with a nice surf ambience to introduce Sebastian (Viola‘s twin brother, thought to be drowned) and Antonio (the “pirate”).

    For the transition to Act II Scene 3, we’re going to try a semi-frantic but funny bebop riff for our two lovable drunks, Sir Toby Belch and Sir Andrew. I’ve come to really appreciate Shakespeare’s drunks. Feste the Clown also enters the scene and performs a reprise of the beautiful O’ Mistress Mine tune as well as joining the gentlemen in some musical shenanigans. Marvolio hops in to try to kill everyone’s buzz (to no avail). As does Maria who introduces the conspiracy to publicly embarrass. Marvolio later in the play.

    Scene 4 will introduce a jazz version of Come Away, Come Away Death performed by Feste and Valentine (on guitar). I have a nice working combination of the melody and drums but now I need to work on the chord changes. Stay tuned…

    This post is being published almost a week after the actual rehearsal occurred. The ideas are in my head, it just takes me an embarrassingly long time to get them into words in a post. I’m going to try to be more timely with future posts. We’ll see.

    Today’s snippet – just a ditty

    #music #soundDesign #theater
  4. Twelfth Night 12N4: Drunks and pirates and songs and schemes

    My last check-in was 7 days ago, talking about the read-through which occurred on Sunday Aug 30th. Cast rehearsals continued after that. I attended the rehearsal on Sunday Sep 6th which focused on blocking of much of Act II as well as Act III Scene 3.

    In Act I, I need to create a gigantic shipwreck/thunder/lightning/surf pounding sound cue, which will be a lot of fun. My goal is to get the audience to collectively jump out of their seats. The goal for the opening of Act II is more modest – a return to the sea coast with a nice surf ambience to introduce Sebastian (Viola‘s twin brother, thought to be drowned) and Antonio (the “pirate”).

    For the transition to Act II Scene 3, we’re going to try a semi-frantic but funny bebop riff for our two lovable drunks, Sir Toby Belch and Sir Andrew. I’ve come to really appreciate Shakespeare’s drunks. Feste the Clown also enters the scene and performs a reprise of the beautiful O’ Mistress Mine tune as well as joining the gentlemen in some musical shenanigans. Marvolio hops in to try to kill everyone’s buzz (to no avail). As does Maria who introduces the conspiracy to publicly embarrass. Marvolio later in the play.

    Scene 4 will introduce a jazz version of Come Away, Come Away Death performed by Feste and Valentine (on guitar). I have a nice working combination of the melody and drums but now I need to work on the chord changes. Stay tuned…

    This post is being published almost a week after the actual rehearsal occurred. The ideas are in my head, it just takes me an embarrassingly long time to get them into words in a post. I’m going to try to be more timely with future posts. We’ll see.

    Today’s snippet – just a ditty

    #music #soundDesign #theater
  5. Twelfth Night 12N4: Drunks and pirates and songs and schemes

    My last check-in was 7 days ago, talking about the read-through which occurred on Sunday Aug 30th. Cast rehearsals continued after that. I attended the rehearsal on Sunday Sep 6th which focused on blocking of much of Act II as well as Act III Scene 3.

    In Act I, I need to create a gigantic shipwreck/thunder/lightning/surf pounding sound cue, which will be a lot of fun. My goal is to get the audience to collectively jump out of their seats. The goal for the opening of Act II is more modest – a return to the sea coast with a nice surf ambience to introduce Sebastian (Viola‘s twin brother, thought to be drowned) and Antonio (the “pirate”).

    For the transition to Act II Scene 3, we’re going to try a semi-frantic but funny bebop riff for our two lovable drunks, Sir Toby Belch and Sir Andrew. I’ve come to really appreciate Shakespeare’s drunks. Feste the Clown also enters the scene and performs a reprise of the beautiful O’ Mistress Mine tune as well as joining the gentlemen in some musical shenanigans. Marvolio hops in to try to kill everyone’s buzz (to no avail). As does Maria who introduces the conspiracy to publicly embarrass. Marvolio later in the play.

    Scene 4 will introduce a jazz version of Come Away, Come Away Death performed by Feste and Valentine (on guitar). I have a nice working combination of the melody and drums but now I need to work on the chord changes. Stay tuned…

    This post is being published almost a week after the actual rehearsal occurred. The ideas are in my head, it just takes me an embarrassingly long time to get them into words in a post. I’m going to try to be more timely with future posts. We’ll see.

    Today’s snippet – just a ditty

    #music #soundDesign #theater
  6. Twelfth Night 12N4: Drunks and pirates and songs and schemes

    My last check-in was 7 days ago, talking about the read-through which occurred on Sunday Aug 30th. Cast rehearsals continued after that. I attended the rehearsal on Sunday Sep 6th which focused on blocking of much of Act II as well as Act III Scene 3.

    In Act I, I need to create a gigantic shipwreck/thunder/lightning/surf pounding sound cue, which will be a lot of fun. My goal is to get the audience to collectively jump out of their seats. The goal for the opening of Act II is more modest – a return to the sea coast with a nice surf ambience to introduce Sebastian (Viola‘s twin brother, thought to be drowned) and Antonio (the “pirate”).

    For the transition to Act II Scene 3, we’re going to try a semi-frantic but funny bebop riff for our two lovable drunks, Sir Toby Belch and Sir Andrew. I’ve come to really appreciate Shakespeare’s drunks. Feste the Clown also enters the scene and performs a reprise of the beautiful O’ Mistress Mine tune as well as joining the gentlemen in some musical shenanigans. Marvolio hops in to try to kill everyone’s buzz (to no avail). As does Maria who introduces the conspiracy to publicly embarrass. Marvolio later in the play.

    Scene 4 will introduce a jazz version of Come Away, Come Away Death performed by Feste and Valentine (on guitar). I have a nice working combination of the melody and drums but now I need to work on the chord changes. Stay tuned…

    This post is being published almost a week after the actual rehearsal occurred. The ideas are in my head, it just takes me an embarrassingly long time to get them into words in a post. I’m going to try to be more timely with future posts. We’ll see.

    Today’s snippet – just a ditty

    #music #soundDesign #theater
  7. Twelfth Night 12N4: Drunks and pirates and songs and schemes

    My last check-in was 7 days ago, talking about the read-through which occurred on Sunday Aug 30th. Cast rehearsals continued after that. I attended the rehearsal on Sunday Sep 6th which focused on blocking of much of Act II as well as Act III Scene 3.

    In Act I, I need to create a gigantic shipwreck/thunder/lightning/surf pounding sound cue, which will be a lot of fun. My goal is to get the audience to collectively jump out of their seats. The goal for the opening of Act II is more modest – a return to the sea coast with a nice surf ambience to introduce Sebastian (Viola‘s twin brother, thought to be drowned) and Antonio (the “pirate”).

    For the transition to Act II Scene 3, we’re going to try a semi-frantic but funny bebop riff for our two lovable drunks, Sir Toby Belch and Sir Andrew. I’ve come to really appreciate Shakespeare’s drunks. Feste the Clown also enters the scene and performs a reprise of the beautiful O’ Mistress Mine tune as well as joining the gentlemen in some musical shenanigans. Marvolio hops in to try to kill everyone’s buzz (to no avail). As does Maria who introduces the conspiracy to publicly embarrass. Marvolio later in the play.

    Scene 4 will introduce a jazz version of Come Away, Come Away Death performed by Feste and Valentine (on guitar). I have a nice working combination of the melody and drums but now I need to work on the chord changes. Stay tuned…

    This post is being published almost a week after the actual rehearsal occurred. The ideas are in my head, it just takes me an embarrassingly long time to get them into words in a post. I’m going to try to be more timely with future posts. We’ll see.

    Today’s snippet – just a ditty

    #music #soundDesign #theater
  8. 🎛️ New Free & Legal VST Plugins
    All plugins listed are officially released and 100% piracy-free.

    🔗 Grab them all via the link in bio!
    #LegalVST #AudioTools #MusicProduction #SoundDesign #ProducerTools

  9. JAS-I Khorlo 🎛️
    Phys modeling/resonator synth w/ cylindrical interaction, pluckers/resonators, 8 mods, 4 macros, FX, 130+ presets

    💻 Mac/Win/Linux (AU/VST3/CLAP)
    🎁 FREE (Open Beta) jas-i.com/

    More freeware 👉 linktr.ee/legalvst

    #freeplugin #physmodeling #resonatorsynth #sounddesign #modulation #effects #openbeta

  10. Here is a quick and short track I made!

    The drums on this track were made by messing around with a noise oscillator that I added a very big FX chain to. I kept on adding minor changes to it and resampled it in to whatever these tiny noises are.

    (Also, the recording is a bit rough because I couldn’t figure out how to make OBS capture the audio of my interface so I had to use the Windows audio drivers)

    Boring stuff aside, here is the track :blobjam:
    #music #artist #sounddesign #electronicmusic #glitch

  11. Here is a quick and short track I made!

    The drums on this track were made by messing around with a noise oscillator that I added a very big FX chain to. I kept on adding minor changes to it and resampled it in to whatever these tiny noises are.

    (Also, the recording is a bit rough because I couldn’t figure out how to make OBS capture the audio of my interface so I had to use the Windows audio drivers)

    Boring stuff aside, here is the track :blobjam:
    #music #artist #sounddesign #electronicmusic #glitch

  12. #Culture #Movie #SoundDesign

    ストリートレース文化と映画音響が結びつき、「スピードの感覚」をどのように作り上げたのかを解き明かす

    monumental-movement.jp/column-fast-...

    【コラム】 ワイルド・スピード(Fast & Furious...

  13. #Culture #Movie #SoundDesign

    ストリートレース文化と映画音響が結びつき、「スピードの感覚」をどのように作り上げたのかを解き明かす

    monumental-movement.jp/column-fast-...

    【コラム】 ワイルド・スピード(Fast & Furious...

  14. Composing modular game audio cues requires strict constraint management: locking BPM, harmonic key, and stem density so loop points stitch seamlessly without transient collision. Stacking non-deterministic descriptive tags usually breaks stem consistency across ambient and battle transitions. Tested this workflow on Sun AI Music for rapid vocal and instrumental prototyping: sunaimusic.com/udio-ai-music #GameAudio #SoundDesign #IndieDev

  15. Composing modular game audio cues requires strict constraint management: locking BPM, harmonic key, and stem density so loop points stitch seamlessly without transient collision. Stacking non-deterministic descriptive tags usually breaks stem consistency across ambient and battle transitions. Tested this workflow on Sun AI Music for rapid vocal and instrumental prototyping: sunaimusic.com/udio-ai-music #GameAudio #SoundDesign #IndieDev

  16. Composing modular game audio cues requires strict constraint management: locking BPM, harmonic key, and stem density so loop points stitch seamlessly without transient collision. Stacking non-deterministic descriptive tags usually breaks stem consistency across ambient and battle transitions. Tested this workflow on Sun AI Music for rapid vocal and instrumental prototyping: sunaimusic.com/udio-ai-music #GameAudio #SoundDesign #IndieDev

  17. In This Episode You'll Learn

    Why speed is partly an auditory experience
    How Fast & Furious builds its engine sounds
    Why many car sounds are recorded separately from filming

    #FastAndFurious
    #SoundDesign
    #FilmSound

    youtu.be/jbPYFcIMPU8

    Why Fast & Furious Doesn't Jus...

  18. New effect in my collection of Puredata abstractions: A granular delay called [granulizer~]: codeberg.org/Residuum/Puredata

    Here is a short demo.

    #Puredata #Pd #SoundDesign #Effect #Granular

  19. Hey y’all. Question for all the sound designer folks out there… what tips, tricks, workflows, or plug-ins have made your life easier?

    I’m getting back into sound design with a song I’m working on and honestly, I forgot how much fun this stuff is. Been experimenting with movement, space, textures, transitions, automation, all of it.

    I’ve heard of plug-ins that can make sounds feel super immersive and almost “3D” around your head. I know Logic Pro has built-in spatial audio tools and binaural stuff. Curious what y’all are using these days, especially for:
    • Easy automation workflows
    • Creative movement/panning
    • Ambient textures
    • Sound transitions
    • Accessible workflows if any blind producers are on here

    I’m doing this project in REAPER right now and just wanna learn from everybody’s setups and experiences.

    #SoundDesign #MusicProduction #AudioProduction #ReaperDAW #Reaper #SpatialAudio #3DAudio #BinauralAudio #Mixing #ProducerLife #Synths #FilmScoring #GameAudio #Accessibility #BlindProducer #AudioEngineering

  20. I rediscovered this video game gem from 1995 (!), so literally 30 years ago, and was able to dig out some audio files. Shout out to the great
    @thomasdolby.bsky.social
    for creating this awesome music and sound design.
    The Dark Eye, claymation adaptation of Poe short stories.
    archive.org/details/dark-eye-1

    #mrteddybear #videogame #sounddesign #soundtrack #thomasdolby #thedarkeye

  21. So this is my #introduction

    My name is Jay Bakes and I am an aspiring #bi #artist #synthwave #musician and #animator. I bring #art to life with #soundscapes , #animations and #music. I have experience in #lightingdesign , #sounddesign and #FilmEditing.

    If you'd like to see all of my work check out my channel: youtube.com/@artsoundscape6397

    I currently live in #memphis and I love the #buffalobills , #dnd , #rimworld , #onepiece , and my #cat Bean.

    Follow me if you want