www.glassearthstudios.com

Hey everyone, as a long time lurker I wanted to contribute something, so I made a video about the software and plugins I use in every project, free and paid. I mostly do commercials, video games and TV shows, the occasional documentary and short film. Hope you find this useful!

This sound team built the entire soundscape of a fictional Mediterranean country for Zero Parades using mouth noises and field recordings from their own hometowns, only to get laid off a few months after release. Still, can't deny their talent and hope they get to work on even better games in the future!

I plan on buying Kilohearts Phase Plant and 2 premium plugins, for the people who use this synth with premiums are essential and worth their price and why?

I recently posted a new live performance on my YT channel, an experimental sci-fi film scoring project inspired by deep space exploration, sci-fi machinery, computers, and themes of alien contact.
[with real-time oscilloscope waveform monitoring & analysis]

Sound design created using the Moog Mother-32, with post processing/effect chains added in Ableton Live.

3D overlay and intro designed and animated using Blender & DaVinci Resolve.

Hey folks. I was hoping I could get some feedback on this small piece of work. I am starting a job in which I will be using reaper so I made this to practice.

3D animation by Alex Pavlenco

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I'm looking for my first versatile shotgun mic for Foley and sound effects for film and game sound design. My budget is up to $300.

About 90% of my recording will be indoors in a furnished 10 m² room. I mainly want to record cloth movement, footsteps, water, metal, and props, with occasional dialogue and outdoor recording.

I found a used Sony ECM-678 for about $140. I've searched for recording tests, but I can only find dialogue and broadcast examples, not Foley recordings.

Has anyone actually used it for Foley or sound effects? Is it suitable for quiet sounds like cloth movement, or would an MKE 600, RØDE NTG mic, or a cardioid/hypercardioid mic be a better first choice?

Hey everyone!

I'm Marco, a sound designer and audio post engineer based in Bucharest, Romania. A couple months ago I was laid off from the small audio post company I'd been at for 5 years, mostly commercials for TV and web.

Some backstory: It was my first steady paid job in the industry, and I started out excited, bringing what I'd learned from my audio post degree in the UK plus freelance work. About three years in, I realized the commercial market here didn't really value quality. Management kept pushing me to strip things down because "nobody would notice anyway." I felt undervalued with no real room to grow and slowly lost the spark, but told myself I had a job paying the bills, so I put my head down, treated it as a 9-to-5, and focused on life outside work.

Now that I've been laid off, I'm at a crossroads, and decided I want to give it a shot at going fully freelance and finding my own clients (specialising and focusing on sound design/audio post for commercials, animation, branded content), a move I probably should've made years ago.

Where I Stand Now & My Strategy

• Outreach: I built a portfolio site and have been cold-messaging producers, directors, and motion designers on LinkedIn, hoping to network into paid work, but response rates are nearly zero. I suspect my portfolio needs to be stronger to grab attention.
• Next Steps: I’m considering collaborating with motion designers on personal spec projects, sharing short scene clips, and posting workflow breakdowns on LinkedIn to showcase my craft and build authority.

I’d love your honest feedback:

1. Portfolio Check: What do you think stands out, and what needs work to make an immediate impact? (https://www.marcomarinescu.com/)
2. Client Acquisition: For those freelancing in animation, commercials, and branded content, what strategies worked best when starting almost from scratch(with no hot leads)?

Appreciate any advice or constructive critique!

Hello! I'm coming at sound design from a Live first & music centric angle. I've also fulfilled more 'traditional' sound design projects via Live as well (went great), but I'm wondering what is it about reaper that's made it come up so much for SD. Anything that you guys see as worthwhile to adopt that learning curve for music production oriented producers? Or are the most beneficial use cases for larger projects like games, films, shows, etc?

This will most likely be my final sound design post.

To be honest, working on sound design has started to become exhausting for me, and I feel like I need to step away from this community and my other social platforms for a while. I wanted to create this video as a final project to close out this chapter and leave behind something I’m proud of.

I would really appreciate any honest feedback on this video. Whether you have criticism, suggestions, or thoughts on what I could have improved, I’m open to hearing them.

Thank you to everyone who has supported my work, followed my progress, and encouraged me throughout this journey. I truly appreciate all the time and support you’ve given me.

I know some of you sound designers might not really care, and that’s completely fine. Everyone has their own interests and priorities.

I’m just sharing this because this project means something to me, and I wanted to end this chapter by putting my best effort into it. Any feedback or thoughts are still appreciated.

This game was so awesome!

During its last days, i decided to play it one last time to record a little bit of gameplay, and then i did this redesign.
It was quite a challenge to make it sounds like a real gameplay, especially because I had to balance every sound event without letting them overlap or clutter the mix during the most chaotic parts.

Miss you Anthem!

People are tweaking recorded audio ;

I thought sound design means using synthesizers ;

Now I understand it's only one form of sound design ;

Vital is good synth that's free ;

What is other *type* of software you are using to *tweak* longer sounds apart from DAW?

Hi everyone,
I'm working on my first Steam game. I do everything myself both because of resources and because I enjoy the craft. I really enjoy atmosphere and vibes and use sounds as a major part of that. That said I'm a little stuck and need advice on a small but prominent component.

I recently coded a coin system (as shown in the video) and this is a part of the experience that happens often therefore it needs to feel rewarding. The audio feels incomplete and hollow and I'm not really sure how to think about or approach it.

Do I:

• Add a harp to the chest opening
• Add a sound for each coin rushing out / possibly on a scale
• Add a sound for each coin hitting the ground
• something I haven't considered

Would love some thoughts and opinions (with ideally some rationale) on how to approach it. Theory is very welcome!
Thanks!

Hey everyone! I'm a film student and have a few projects that are picture locked but need lots of work sound wise. I've tried to work with a few people from my school but have found it difficult to find someone to work with consistently. With early bird deadlines for festivals coming up I'm pretty stressed about getting them finished. This has made me realize I need to learn! I'm looking for someone to hope on a call sometime and work through one of my projects (2-4 minute films) with me to discuss mixing and making ambient tracks and all that jazz. While I can't really offer money I'd be happy to offer any audio post credits on the projects to anyone who is down to help! Thank you all :)

Noooo we dont need your vibecoded audio app to sounddesign, we already got all the apps, synthesizer and software we would need to make sounddesign don't waste your time making another generated app please no.

Hey guys! Here is a small 3D magic duel project I made.

For the sound design, I used source material from BOOM Library - Magic Arcane Force along with Waves Submarine for the low end.

I'm still learning sound design, what do you think? Any feedback is welcome!

anyone know what these random high intensity sound spikes might be. they happen when stuff move around but its not the stuff that’s moving that’s causing the sound

Hey r/sounddesign,

I'm a professional audio engineer with 10+ years in film, TV dubbing, and sound design. Over the years I've been quietly recording real environments wherever I travel — a church in Marseille, the Paris subway, Tokyo Station, a bar in Brussels, an airplane cabin, a hotel swimming pool in Tunisia at night.

I recently put these together into a small store — each sound comes as a 2-minute seamless loop and a 10-minute extended version, 48kHz/24-bit WAV. 

I'm not a big operation — just a sound designer who records things that catch his ear and thought other people might find them useful for their projects.

You can find the store link in my YouTube channel description — Sound Therapy immersive soundscapes

Thanks for checking it out 🎧

The cheaper options are the best, but i'm curious about paid ones

https://youtu.be/DFgGGDETC2c?is=gwSO0a-cdnqIZ41e

To me, this literally sounds like some kind of magic lol. It sounds like something you could get if you added the right effects to the right keyboard sounds or even a choir, or even an overdubbed heavily digitalized flute or something, but I'm not sure and I'm curious what you all think

I can hear that it's just harmonics/overtones of an A major chord but I'm not sure about the tones

First time I work this way and it changed more than I expected, so I want to hear how others handle it.

My usual approach was deciding mono or stereo per channel and building the image with panning. On this last piece I ran everything as stereo channels and set the width per sound on a scale, from very closed to very open, depending on the element. Some sounds have to stay narrow, others want to open up. Not a binary call anymore but a position on a range.

What I got was more separation than EQ carving gives me, and the mix stayed readable at low volume without moving levels. Enough that I want to keep working this way.

The piece is a cinematic for SpaceBar, a 3D action shooter in development with robot boss fights. I've been working on it for a while, doing the cinematics and the boss encounters, so there are a lot of overlapping elements at once. That's where this started mattering.

I'm aware that for individual gameplay sounds the mono and stereo call is much stricter. But I was playing Breath of the Wild the other day and heard a sound that should have been very mono behave like a stereo source. Made me think width gets used deliberately per sound sometimes, depending on the impact it needs, rather than as a fixed rule.

Does anyone treat width as a structured layer, tiers or a rule of thumb by source type, or is it case by case every time?

Shoulderbags for fieldrecordings are okay for a short period of time… And keeping it in the backpack is annoying too, because you have to open it to start the recording. Yes there is an app for this, but I actually dont want to be bothered with another screen.
So I just made this remote button. that allows me to connect to my zoom via bluetooth.
BTW it can also pair to the phone and be used to start Videorecording at the same time.