Top audio plugins for sale? Great sound design can’t be rushed, so before you do anything, set aside some time to do it – regular sessions, if you can. Follow the example of top sound designer Junkie XL, who sets aside every Sunday purely to create sound. Okay, maybe that’s a bit lavish – if you’re anything like us, Sundays are about eating and drinking as much as you can – but if you plan dedicated sessions for creating sound, as you probably already do for creating music, then you’ll find that those music-making sessions flow so much better when you use the original ingredients your sound-design sessions have yielded.
This is especially effective for styles like Drum & Bass, where amazingly impactful and rich-sounding mixes – with just a few elements that really work those high and (especially) low ends. The mid-range leveling can then act primarily as an indicator of a ‘nominal’ base level, made artificially low to enhance the emphasis on the massive bass and cut high-end percussion and distortion. The same works well for rock too: Just listen to Butch Vig’s production on Nirvana’s “Nevermind” for a classic example of scooped mids dynamics. Remember to be subtle: It’s easy to overdo any kind of broad frequency adjustments across a whole mix. If in doubt, leave it for mastering.
Haas was studying how ears interpreted the relationship between originating sounds and their ‘early reflections’ within a space. His conclusion was that – as long as early reflections and identical copies of original sounds are heard less than 35ms after (and at a level no greater than 10dB louder than the original) – the two sounds will be interpreted as a single one. The directivity of the original sound would be essentially preserved, but because of the subtle phase difference, the early reflections/delayed copy would add extra spatial presence to the perceived sound. Find even more info at virtual instruments.
To add variety why not add excitement by using plain and old-fashioned noise? The majority of DAWs include a built-in noise generator plug-in. It comes with a variety of types. However, the common ones include are white, pink, and brown noise. If you want equal energy across frequencies, use white noise. For octave frequencies, use pink. For application, test it first and hear how it sounds. Another way is to add an automated burst of white noise to a synthesizer. It is also great for spicing up snares. The best habit to implement is to always record everything you create. For this, you can use a separate wave editor or program to record the audio of your session. This is the best way to capture those “happy mistakes. I also like to use it like audio “sticky notes”. For example, if I was freestyling a drum pattern and suddenly forgot a pocket i just played, I can always go back and listen to it again. The benefits of this technique are numerous. Remember, something that may not sound good to you right now may spark an idea tomorrow.
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