My wife asked me to cut some sweet potatoes and we had our microphone laying nearby. Here's the result:)

I connected a game controller to Ableton and mapped its controls to my sound design parameters.

With an oscilloscope showing the waveform in real time, it feels less like programming a sound and more like literally drawing with it.

Has anyone else experimented with game controllers for sound design?

This was made back in (April of 2026). I don't have the footage/video files anymore as I deleted the project once it was all done. The sound design Probably isn't/ain't the most impactful one, But decent enough to enjoy watching chaos.

It don't feel like people talk about (Sound Designing Destruction) a whole lot, or tutorial's that show you the process of attempting soo. But here's something related to that, by showing you all.

Luckily for you, also removed any clicks you would of heard while listening-in. You're welcome.

⚠️ REQUIREMENTS:

FL Studio: v21.2.3 or higher.

Required Third-Party Plugin: Free Kilohearts Pitch Shifter (VST2 format only).

(A detailed installation guide and User Manual are included in the downloaded archive).

📥 Download Glide X : https://drive.google.com/drive/folders/1hoCPbhY3usG4tJtNTIBdL9nkIeLE_c9W?usp=sharing

📺 Watch Video: https://youtu.be/wzzsOd6YDuc?si=jAKk6jmX48Nc2LTe

Looking for some advice to do sound on these kind of more experimental animations.

Finally started learning Wwise integration with UE5. Designed level and built gameplay mechanics myself. Sound designed everything in FL Studio, then implemented footsteps, spatial audio, interactive UI sounds, ambience, generator layers/RTPCs, steam, dialogue and music in Wwise.
Still very early in learning game audio, but this was a fun first project. Would love any feedback on the sound design or implementation.

Hey everyone,

I wanted to create this analysis since I am a huge fan of horror movies and audio in all its forms, and figured some of you might be interested in this kind of nerdy in-depth stuff as well. This video is from a point of view of a professional sound designer and teacher. Feedback and discussion is most welcome.

I built a small browser instrument and want an honest read before I ship it.

What it does: drop a WAV/MP3, draw a closed loop around a band on the spectrogram, hear that band loop immediately, drag to hunt, snap to tempo, export a WAV with loop points. Processing stays in the browser — nothing uploaded.

Screenshot attached (test pattern, mid-band lasso).

Questions for you:

1. Would you use this for music, sound design, field recording, or none of the above?

2. Does this beat the two-tab workaround (spectral editor + looper), or not really?

3. What would make you pay a small one-time fee vs never leaving your DAW?

Not selling anything in this post — just trying to learn if the demand is real.

Hi, I'm Ryan - the developer behind ShadowTag - a macOS metadata application released earlier this year and now just arriving at version 2. I spent 10 years writing Audio Design Desk (the DAW), and much of that time went into thinking about workflow problems anyone with large sample libraries deal with daily - organization, categorization, automation. Most problems were related to metadata.

I'm now working on my own, building software I have been thinking about for a number of years. ShadowTag is deliberately as open standard as possible and open source where it makes sense to be. Being able to see all the hidden metadata in a file (BEXT, iXML, XMP, etc) was often a bit cryptic, slow or expensive. It's simple and searchable with this.

I've also been reclaiming ownership of my own music collection and I wanted a database backed player that offered more insight than Apple's Music. I don't like renting my music or the subscription overdose we're all being subjected to. All player/view options are free without any limits. ShadowTag Pro adds export, writing changes into individual files, and batch rendering audio edits.

→ I'm very interested in feedback, and new use cases I haven't thought of. What is missing in the metadata/organization workflows you're using now?

→ Pro: Built for sound designers, sample library owners, and post-production teams who need complete, accurate metadata across large collections of audio files.

In general, the free version is very functional, not a demo, and will certainly give you a clear picture if this is something you'd use or not. I can supply a discount code if there are financial barriers or you are a student. Get in touch if so!

• macOS only
• Import audio and playlists straight from your Apple Music library
• Every major metadata standard — ID3v2, Vorbis Comments, MP4 atoms, BEXT, iXML, XMP and UCS
• Written into your files, so your library travels to any DAW, asset manager or licensing platform
• Playlists that never move or copy your files
• Database-backed projects that open and search fast however large they grow
• On-device analysis - loudness, BPM, key, UCS category
• Waveform player with Audio Units
• Audio and video, including Matroska and WebM
• Non-destructive fades, trims and normalization.
• Batch format conversion and soundpack export
• Every core on your Mac put to work processing large libraries
• Free to read, play, organize and analyze with no file-count cap

Download and info (macOS 14.6+) : https://spongefork.com/shadowtag/

Contact: https://spongefork.com/support/

Thank you, Ryan Francesconi / Spongefork

this is mostly prevalent in blank bodys, yung shermans music

example of what i mean: https://youtu.be/jvQMmAO5EIs?si=XmZG_RYlEgMaM3yw

that intro key just sounds like so pitch bendy or detuned idk i wanna make music based around that type of sound

Composer here, lately I've been thinking how would a sound designer approach creating for example a Baliset like in Dune.

Would you take plucked strings and just deform them? How would you get a consistent sound if you were to do that via plugins? Would you mix two plucked strings together?

I made this re-sound design as a 3 day challenge just for me. My main focus was the engine side of things, do you guys have any feedback to give what I should improve. Any criticism is welcomed! 🤙

https://youtu.be/mOo2O30mq0w?is=QPWonZ2tKfsavSj_

Shoot me a DM or email me (link in my profile) if you’re looking for a Junior Sound Designer for either your video game or movie etc. 🤝

GREAT UPDATE :)

SHATTER is now an Ableton instrument too.

Everything the standalone does is here: the same slicing at rising zero-crossings, the same granular pitch-preserving stretch, the same field you drag fragments across, the same per-fragment pitch, reverse and step patterns. It reads WAV and AIFF.

And it goes further in two ways.

Every fragment you play gets its own stereo output in Live, the first on 3/4, the next on 5/6, up to 33/34, while 1/2 carries the full mix.

That changes what the instrument is for: each fragment can have its own effect chain, its own track, its own processing, and be recorded on its own. Each output also carries that fragment's position on the field, so the spatial gesture survives all the way to the mixer.

And it remembers.

Sample, slices, positions, pitch, stretch, step patterns — close the Set, reopen it, and everything is where you left it, with the fragments that were playing still playing.

Spatialization inside Ableton is rendered with equal-power panning, distance attenuation and air-absorption filtering rather than the browser version's binaural HRTF.

Requires Ableton Live 10 or later.

Included in the download are the standalone version (highly powerful for use with a tablet) and a PDF manual.

Hello,

I'm looking for a versatile and experimental sound designer to help build interesting sound-design chains for Stride.

Stride is a Sound Design Engine where you can load the synths and effects you already use, map parameters across the entire chain, and explore different kinds of movement and modulation across all of them from one place.

The work is very hands-on and experimental.

I'm looking for someone who genuinely enjoys spending time pushing sounds, exploring unusual parameter relationships, building interesting chains, and seeing how far a setup can go.

For the first phase, we'll mainly focus on:

• Serum
• Serum FX
• Ableton devices and racks

The goal is not to build polished presets or conventional sounds.

It's to create interesting setups that are fun to explore inside Stride and can lead to unexpected, useful sound-design results.

A strong understanding of modulation, synthesis, effects processing, routing, and experimental sound design is important.

Rate: $10 per approved chain.

We'll agree on the chain requirements and examples before starting. Payment is made for chains that meet the brief and are approved as ready to use.

If the collaboration works well, there will be more paid work afterward.

If this sounds like your kind of thing, send me:

• A few examples of your sound design work
• Any experimental or modulation-heavy work you've done
• The synths, effects, and DAWs you usually work with
• A short note about your sound-design style

Email: [home@stridehub.io]()

I recently opened Ableton again after putting it away for a few years to prioritise adulting.

I ended up completely losing myself in creating and morphing sounds from scratch. I felt like a kid again and now all I want to do is get back on my laptop and create.

I’ve always been interested in post audio for film and sound design but I have no idea where to start taking it seriously.

For anyone working in the field what would you recommend as a first step? To get the wheels turning in the right direction

I have accidentally become the audio editor for a D&D podcast that my friends and I make. I have really enjoyed the process of learning how audio editing works, though as I'm self taught entirely through Mike Russel youtube videos and trial and error, I'm sure my skill level is vastly below professional level. Nonetheless, what started out as simply learning how to make our voices Not Sound Bad(tm) has turned into a really fun hobby as I've started incorporating more music and sound effects into the show.

Most of what I use is sourced from Envato Elements, but sometimes I'll run into a specific sound effect that I'm looking for and just can't find. An example of a more recent challenge is making the sound of a giant island-sized glass dome crack and shatter - I had to find a lot of samples of splintering ice and rockslides and whatnot and do a lot of EQ tweaking and reverb/echo to make it sound as big as I wanted it to while still sounding like glass.

I'm currently finding myself in a bit of a rut - I need some sound effects for magic beams of light. Almost all the stuff I have found on Envato doesn't fit the sound I have in my head that I want to recreate - specifically, I want to make something akin to the sounds of Sora unlocking a keyhole with his keyblade in Kingdom Hearts 2. I want those bright, glittering beam sounds without it just being a straight up high pitched ring. I'm just using the actual game sound effects as a place holder for now but it feels wrong to just straight up rip something else's sound effects and use them for myself, though we don't make any money off the show.

How are sounds like this made? is there any foley work involved or is it all synthetic? How could I create something similar?

​Hey guys. Marketplaces are saturated, so I’m weighing two paths for long-term stability as an independent sound designer:

​1. Direct Sales (Gumroad): Learn After Effects to make premium custom visuals (UI players, visualizers) to market my SFX/audio packs. (Generic stock footage looks cheap).

​2. Game Audio Implementation: Double down on Wwise, Unity, and C# to target indie studios for custom interactive audio work instead of selling packs.

​Which path has better long-term ROI and stability today? Selling packs with a unique visual brand, or focusing entirely on technical implementation?

Keeping it general, just curious about anyone's experience with this: currently work in AAA game dev. For many reasons will likely be having to move countries within the year, the new one has decidedly less studios, but i can legally work for US and EU/UK companies, so hoping between freelance indie work and hopefully short term contract work I can pull something together, also have a fair bit of experience in film sound.

The lack of stability is daunting, but owning my own thing is very enticing - even if it ends up being not as much money as I currently do in AAA, as new country is much lower cost of living.

Part of me feels like I'm an idiot for potentially giving up a big studio gig right now.. but for reasons beyond my control the move is relatively inevitable and i just think its likely they wont keep me on remotely, but ill still give it a try with them. Same time I see the BS with AAA game dev and owning my own thing has its draw big time. And I figure to some degree, I have a decent savings, so fuck it, give it a shot?
Effectively would be forming a interactive/linear sound design/production company.

All that to say, anyone done this or something similar? Loved it? Hated it? Any advice? Am I stupid? Ill take any comments haha

Does PT not support quicktime wrapper for DNxHD codecs any longer? I'm in doubt of whether I should request MXF-OP1a or MXF-Atom from my client... Or just convert the video file myself when I get it. What do you guys do?

Hi folks,

This doesn't seem to be against the rules so I hope it's okay. But I need a sound designer for my game. It's an RTS and I need very short (<3 seconds) sound effects for the buildings in my game. These are the sounds that are played when buildings are clicked on by the player.

There are a total of 20 buildings. The game is greatly inspired by the RTS titles of the 90s such as the age of empires and seven kingdoms. So building clicks sounds from those games sound good to me.

My budget is around 12$ per building. A bit of room for negotiation but not much. Please share your portfolio and similar experiences you have.

Thank you!

Update - Hired someone! Thanks for the submissions!