In this clip from the 1998 Alex Proyes film Dark City, I have completely replaced the soundtrack with original sound designs. I wanted to avoid using library sources so I started by recording as much as I could myself.
For the footsteps and foley, I built a small platform using wooden pallets and scrap lumber. The rope strain sounds came from a number of different types of ropes, combined with a wicker basket that I twisted and pulled apart. All of the vocal sounds started from my voice and I used the FL Studio vocoder to impart some different texture layers to the Strangers. Although I was able to record some actual sparks with the help of my father, most of the electrical elements at the end came from an experiment with a contact mic taped to a wooden dresser with a thin chain dragged over it. The brain creature was a combination of a squeaky keychain, synthesized elements, mouth noises, and a layer of cooked pasta for the extra squishiness.
In this continuing series, I take a look at the sound designs from my Oblivion demo reel clip.
I wanted to create the bow and arrow sounds myself for this clip, but I wasn’t able to coordinate with my archer friend to record. I was going to have to create the sounds from scratch, as components.
The main bow-draw sounds came from some experiments with a slingshot and a thin wooden dowel. The friction of the arrow against the frame, combined with the stretch of the elastic bands got me in the right neighborhood for the draw sound. Unfortunately, disaster struck as I was experimenting with ways to record the arrow loosing part of the sound, and one of the bands snapped. Although I was able to get a few recordings of bow releases, they needed a serious amount of oomph.
I decided to record various types of strings and cords under tension to mix in on both the low and high ends of the sound spectrum. It was quite the arm and pec workout just stretching a cord in both hands, not to mention that I practically needed to pluck it with my teeth. Instead, I tied one end to my pullup bar and torqued the other with a gloved hand.
As I learn more about using the Wwise sound engine, I have been working on creating new sounds for the open-source FPS Cube.
Here is an early video from when I had just finished adding the basic sound elements for the enemies and weapons*.
The monsters and player voices were are all taken from vocal sounds that I recorded myself. Some were pitched and layers, others vocoded, flanged or otherwise modulated to get the right character. I’m quite proud of the performance I did for the hell pigs.
In this continuing series, I take a look at the sound designs from my Oblivion demo reel clip.
The Flame Atronach, the main enemy in this clip, is a fiery creature from another plane of existence. I wanted to give it an evil, demonic quality. Here are some of the unedited vocals I recorded of myself:
After cleaning up some of the background noise, I applied pitch effects and a little bit of vibrato to get the following:
I thought it was getting close to the right sound, but I also wanted to impart some more menace by modulating the voice clips with elements of rock and fire. I fired up FL Studio and set up a channel with a vocoder so that I could mess around with different carrier waves (roaring fires, road construction, avalanches, etc.)
One of the video clips that I’m redoing the soundtrack takes place on a wooden billboard scaffolding. I needed to record clean footsteps, impacts, and friction sounds, but it can be difficult to control all the variables. There are some boardwalk areas near my house that I’ve recorded in the past, but I’ve always had to struggle with noise from the wind and waves, not to mention distant boat and car traffic. I found a wooden pallet outside of a dumpster the other day and saw my golden opportunity.
This turned out to be pretty good (and free) foley stage.
The clip involves a couple of bodies falling onto wood, so I made myself a foley dummy. I filled a gym bag with shoes, clothes, and books and dropped it from various heights to record these.
This should be good for the main meat of the body falls.
I wanted to record some heartbeat sound effects for a game project to use as an auditory health cue, so I set out to try and build a sort of stethoscope using household items. I took the plastic lid of a cd spindle and wrapped the open end with saran wrap and affixed a rubber band around it to form a diaphragm. I drilled a hole in the other end and attached a cardboard tube that was just wider than one of my condenser microphones.
This is one of the recordings, after a little bit of compression and noise reduction:
I’m going to start writing about the process of sound design from my demo reel. First up is the Oblivion gate from the Elder Scrolls IV: Oblivion.
In TES: IV, Oblivion Gates are mysterious portals to a hellish plane of existence. For the base of the sound, I wanted to combine elements of fire (various library sources ranging from campfires to forest infernos), earth (low rumbling earthquake), and electricity (arc welder) in a way that would sell the visuals.
For my Ball-rolling game project in Unity 3d, I needed to replace the temporary engine sound I used as a placeholder. I wanted to record actual rolling friction sounds that would be modulated by the FMOD autopitch function for a more realistic experience. After a bit of experimenting with things I had around the house, I decided on using the big red marble from an optical trackball.
First, I tried the inside of a computer case. It had a nice resonance, but I had difficulty getting more than a half-second’s worth of rolling before it smacked into the side of the lid.
Similar to the metal lid problem, I couldn’t get much of a good roll. I found I could rock it back and forth to sustain it a little longer, but this gave it a seesaw effect of pitching up and down. Note, that this was just a quick test recording I did with the air conditioning running, so the quality is not up to snuff.
A few days later, I took inspiration from the wall of death/wheel of death motorcycle stunts. I started looking for round surfaces that I could rotate the ball around the inside of, centripetally.
The cake carrier gave me quite a few variations in tone. I could use the clear plastic part with or without the bottom lid for different effects.
The metal pot is one that I’ve used in the past for PVKII, to impart the voice of the Heavy Knight with a ringing, metallic resonance. Whether or not the bottom of the pot was damped help give some extra tonal possibilities to the pot as well.
The watering can didn’t end up working out very well for the ball-rolling project, but I did end up sampling it as percussion for the game’s music. Look for a new video of the game project shortly.
Here’s the revised version of my sound replacement demo. The clip comes from the game Arkham Asylum. All sounds and voices were created by me, except for the Harley Q voice, which was done by Ashley Banas.
Here’s a clip of a project I’ve been working on to cut my teeth on implementing and scripting sound elements with FMOD Studio. I’ve taken the Roll-A-Ball tutorial from Unity as a starting point, tweaked the scoring system and added bumpers.
Things I’d like to add/improve:
Dynamic music
Wall collision sounds
Velocity-dependent ball rolling sounds
Velocity-dependent pickup sounds
Respawning/randomized cube pickups
The cube hums were synthesized in Alchemy and I recorded the bumper sounds from a lamp.
