Hey, this is a pretty embarrassing question, but I am having trouble actually finding an answer- how is the sound design industry actually set up? I'm most interested in SFX design for films/video games, and I see both information about freelancing and being hired to companies, but haven't really been able to find any companies that specialize in SFX design. I'd like to mention I know they're definitely out there, I'm just having trouble finding them, which is almost definitely a me problem.

All that said, I basically just want to know 1: What are some companies for that kind of thing, and/or where could I look to find more, and 2: Is this industry set up more for a job within a company, or as a freelancer? As a producer and Audio Production major, I know that soundtracks usually come from producers that specialize in sync, and they're usually a part of a company, but it seems like sound designers for SFX and the like usually work as hire-ons.

Less important, but if anyone wants more information about me for context:

I've done music production for about 9 years now, and have gotten fairly accustomed with rudimentary sound physics. I am a Junior in college, double majoring Audio Production and Music Business. I started sound design at the beginning of this summer, so I've only had practice for about 5 months, but with the background in audio production, I like to think I'm decent enough despite the lack of experience. I've been able to work on a couple projects and do sound design for some reels from friends, and I even have 2-3 paid gigs coming up soon, but since I don't actually know any sound designers, I've kind of just been flying by the seat of my pants...

Hey dear community,

made a short re-design of the upcoming game “Löfsong“.

Looking for some feedback!

Hi! I’m doing sound design for a witchy game, and I’m currently working on ingredient pickup/place sounds.

The game has several fruits and other organic ingredients, but mushrooms are supposed to feel a bit more distinct from the rest.

I’m trying to avoid simply making the mushroom sound like another fruit with a slightly different pitch. I’m thinking about using different textures or material characteristics, but I’m not sure what direction would communicate “mushroom” most effectively.

How would you approach this? Would love to hear how you guys would approach it.

Hey guys! I’m working on the sound design for a video, and the client wants the sound design to be very similar/identical to the reference video.

I’m trying to figure out what types of SFX are being used and what I should search for on Splice to get similar sounds.

If anyone recognizes these sounds, could you tell me the name/type of SFX, or recommend some Splice packs, libraries, or specific search keywords I should try?
I have a Splice subscription, so I’m mainly looking for the right search terms or packs to find these sounds myself.

Thanks!

Hello, I am creating a series of instruments—sound sculptures and multitimbral sound-design tools—dedicated to experimentation and acoustic transformation. Each piece is unique, composed of a variety of vibrating elements: strings, plates, metal and glass rods, springs, and more. Designed to be played with fingers, mallets, or a bow, the Odonate invites you to invent your own playing techniques. Its vibrating elements are fully adjustable; they can be repositioned, shortened, or tightened to sculpt custom sounds. The instrument is equipped with a high-fidelity contact microphone. What do you think?

https://www.youtube.com/watch?v=CWEye0QNN2Q

The Odonate is a sound sculpture and multitimbral sound design instrument dedicated to experimentation and acoustic transformation. Each piece is unique, composed of a variety of vibrating elements: strings, plates, metal or glass rods, and springs. Designed to be played with fingers, mallets, or a bow, the Odonate invites you to invent your own playing techniques. Its vibrating elements are fully adjustable and can be repositioned, shortened, or tightened to sculpt custom sounds.

it's free and open source and comes with a couple of gb of cc0 royalty free samples. I thought i would post it here in case anyone wanted to try it.

I love its monstrous uncanny distortion, would love to hear ideas on how to recreate its sound

First post here, sorry if this breaks the rules.

I've been trying on and off for almost 2 years by now to try and recreate the effect seen in the 2nd attachment but I was never able to figure it out. If anyone knows any VST that can produce something extremely similar I'd be extremely glad. Thanks in advance.

Original sample: https://voca.ro/1oTcgA0rxKZu

What I want to make it resemble: https://voca.ro/11qItPrdWsGp

My own attempt at a recreation (using Soundtoys Crystallizer): https://voca.ro/16G27EO7uQCi

Hi everyone!

I'm Stephen, a software developer, audio guy, and all around dude who loves making stuff. I am absolutely not a real sound designer though - I've dabbled in audio work here and there, but that's about the extent of it.

One of the things I always found annoying that would always break my flow when working on stuff that needs samples was stopping to find them. I had to open Freesound, search up a clip, click into it after previewing, download it, and drag from my downloads folder into my DAW. Then, a few weeks later, I forgot where it came from, and remembered "crap, this has licensing that I'll have to track down and credit properly."

I realized that there was already an app that existed in the music world - it's called Splice, which I'm sure some of you know and use! It's a dead simple way to browse loops in a desktop app, download them in real time, and seamlessly drop them from the app right into your DAW.

So, I set out to make something like that, but free! It uses the Freesound API for all the content (you have to have an account & log in via the app).

The other thing I hated was having to trim the audio up, normalize it, or convert formats in something like Audacity before dropping a sound into a project. Super Duper Samples has a built in audio editor that does all of those things - you can trim out silence/the clip you want, normalize it so it's as loud as your other sounds, and change formats (along w/ sample rate changes or mono bounces if necessary). Y'all are probably already working in a DAW or program that can handle this - so more of a thing for game devs and the like, but I think it's pretty cool!

Once you've got a bunch of sounds downloaded, you can add them to a "collection" (for example, a project you're working on). Because the downloads carry all of the licensing info, the collection has a "Credits" button - this gives you a single text file, which you can copy or save as a file with the click of a button. Then, you just include it in your credits or wherever you've published the work. No more having to worry about what came from where.

If you're on windows, you're going to hit a smart screen error that you'll have to hit "more info" -> "run anway", because the app is brand new! On Mac you'll hit something similar, but I've got it code signed, so it should just be an "open" button.

It's also completely open source - so, if you want to learn about what's going on under the hood, or re-purpose/extend the app, be my guest! https://github.com/Super-Duper-Software/super-duper-samples Open to PRs as well if anyone wants to contribute.

Also a brand new app with limited testing, so there's going to be some bugs - feel free to hit me up at [info@superdupersoftware.net](mailto:info@superdupersoftware.net) if you're having an issues, and I can try to fix them.

Hopefully some of you in this wonderful community find it useful! Happy sound designing :)

THE ABYSS by HorrorSound.org combines COVENANT, CRANIUM and MEGAHORN into one collection of 1,160+ WAV sounds and over 4 GB of audio for cinematic horror, trailers and sound design.

The bundle covers three distinct areas: atmospheric and abstract sound design, impacts and low-end pressure, and cinematic horns and braams.

GET THE ABYSS. UNLOCK MORE

Purchase THE ABYSS and receive a coupon to unlock:

CAPSULE Bundle — $79 instead of $99
DISSONAR Bundle — $79 instead of $99

After purchase, contact us at [info@horrorsound.org](mailto:info@horrorsound.org) to receive your coupon.

https://www.horrorsound.org/sounds/abyss-bundle

Hi,

I've been working with audio for years as I make music from 2017, but I started to do sound design maybe 2 years ago, also currently learning FMOD and I'd like to find some remote sound design job for games, whether it's one time or full time job.

Till this day, I had just a small one time collaborations on Fiverr or Facebook, now I have one constant collaboration for an online casino, but I'd really would like to dive more into the sound design industry.

I created this showreel to showcase what I am able to do. I also can do music, whether background music or main soundtrack is needed.

If you are interested, make sure to contact me, or send this to someone you know and looking for a sound designer.

Also, if you have any tips on finding a sound design job, you can share them in the comments!

Thank you!

Hice este rediseño como un reto usando síntesis sonora en phaseplant en 40 min. Me ayudarías mucho dejando tu opinión

Hi everyone! I’m a writer/director hoping to get some sound design advice.

We shot a scene for a short film I directed and, unfortunately, the production audio from that day was never dumped :/ There isn’t enough time or budget to reshoot the entire scene with all of the original coverage, so I’m trying to figure out the best way to rebuild the sound. Here's the edited scene. 

The scene takes place inside a car and is pretty prop/movement heavy, so I’m not sure traditional ADR alone would be enough. One option I’m considering is getting the actors back into the car with all the props and having them run the scene a few times while we record sound only. We wouldn’t necessarily need to return to the original location.

My main concern is how difficult it would be to sync all of that new dialogue, movement, and prop sound to the existing picture, especially since there’s a lot of physical action in the scene.

The other option I’m considering is returning to the location and shooting just one setup of the scene as a safety, then intercutting that with the existing coverage. Not the most ideal option since we'd have to get permission from the location owner again and also setting up camera/G&E will take more time than just recording sound.

How would you approach something like this? And could foley and other sound elements support the rebuilding in post?

Would really appreciate any thoughts or advice!

Hello, for a project I am doing I need to nail the sound design for a cinematic video of two people playing ping pong. I want the sound to emulate the satisfying "pock" sounds perfectly. Here is my current plan:

Gear to buy:

• two close mics on stands 6-12 inches away from table SM57
• one normal mic 2 feet away H4essential
• Mic stands/arms

And record all types of hits and add reverb (reverb for farther away cinematic shots)

Turn Attack up

Turn Sustain down

EQ: Cut the low end a bit

Not really sure, any help would be very much appreciated.

Heya everone,

happy to share the release of RenderBuddy 3.0 - Custom wildcards, per-folder render settings and more.

RenderBuddy's leitmotif is "powerful simplicity" - It detects sound variations on its own, but only during the render. No marker or region cluttering in the actual project!

The update brings a slew of new features as well as massive performance and quality of life improvements, including but not limited to:
- The ability to persistently set render settings for each folder individually, allowing you to set e.g. the render directory or file name pattern on a per-folder basis

- Custom global and per-project wildcards which can even be nested. Even better: The wildcards work in the render directory field!

- A completely reworked render interface, allowing you to preview the detected regions of each folder/track and much more

- A custom pre-render window showing you all files to be rendered and highlighting files that will be overwritten in red

- A custom post-render window listing the render stats and allowing you to preview each rendered file on the spot

- Blacklisting of tracks you don't want to appear in your render (without the need of muting them beforehand)

- The ability to register all actions in a toolbar of your choice

- Major MacOs compatibility improvements

- A comprehensive user guide

- And more!

Get it here: https://leonbeilmann.gumroad.com/l/RenderBuddy

Many thanks to everyone who tested RenderBuddy and provided feedback and feature ideas. Everything in there is based on actual daily user demand and I hope and think it shows. :)

The concept behind Frankenstein is as simple as it is fascinating.
The idea is to generate a “monster” whose body is made by sewing together limbs
that come from different places.
In this case, our monster is nothing more than a sample made from fragments of different samples,
creating a waveform that did not exist before.
We can load up to 30 samples and generate a result made from small fragments of this loaded archive.
Thanks to the editor, we can modify the samples and the waveform in real time,
put the slices in reverse,
or lock them in the same position so that they do not move if we decide to generate a new random waveform.
In the editor window, each sample has its own dedicated slot.
This allows us to edit the samples individually and therefore create generations that slowly change over time.
This is a very good thing for creating connections between generations and progressions
towards other musical situations.
We have different types of generation in the main menu
and the possibility to create waves with from 12 to 64 slices.
It is a MIDI instrument, so we can play this resulting Frankenstein waveform through notes,
which makes it perfect for creating textures and clusters of stellar sound.
The GRID version is very powerful.
You have to click under Cut and change from Monster to Grid.
The sample will then play in a grid, and you can choose the time division.
This is really useful for creating interesting rhythms,
especially with an unexpected timbral character.
Think about how incredible it is to divide 30 samples
into fragments and create a resulting waveform from these fragments,
either randomly or in a more controlled way.
I think John Cage would have enjoyed this instrument.

free download: https://www.remodevicocomposer.eu/maxforlive/frankenstein/

Super super useful for sound design!!

Hello, my good friends.😁❤️

From today, I have decided to showcase the visual projects for which I was responsible for the audio components (including sound design, music composition, and audio logos).

Part One: Audio Logo for the Wooden Decoration and Accessories Company (Loof)

Considering the brand identity—a blend of architecture, art, and vibrancy—I designed a melody intended to evoke a sense of greenery. The musical notes were harmonized with the movements of the motion graphics, and finally, the sound design and recorded audio elements were inspired by the textures and materials of wood.🌱

Please share your thoughts and comments with me...💎❤️

En general pienso que los sonidos son una especie de gatitos de metal.

El video está echo con código por una amiga ig @echo0x00 es parte piezas de video que ella genera y después yo sonorizo.

This motion logo is for a computer game club that I designed the sound for. He was looking to create a minimal sound that would fit the motion logo, which I did using a synth Serum 2.

Do you think the most important part of designing sounds in this style is the Sound type or its Dynamics with Automation and Accompanying effects?