Plastic-like and small mechanical sounds: Crumpling the can.Hard hits and steam releases: Opening the can.Tonal and metallic elements: Hitting the can with the tab closed.Here’s a list of some I thought of before recording: Now the question is what sounds we can get out of our beer can? To really emphasize this idea of breaking down sounds, lets try and design our BFG using only a beer can for source. Violent and powerful: Aggressive metal movement, distortion, maybe low vocal-like elements.īREAK IT DOWN Part 2 – The Beer Can (or soda can if you are < 21 ?) There are a lot of more emotion/world-building descriptions we could use for this gun but I’ve chosen a few I want to focus on and some sonic qualities I think will do a good job of expressing them:īIG F**KING GUN (the name): Big beefy low end, needs to feel powerful.Įxperimental new technology: Instability in the sound, randomly modulated pitch and volume. Mostly just a continuation of part two but more focus on how the core may be outputting the energy, maybe add additional mechanical layers or some rotating metal type sounds to emphasize this. Definitely want to have a cool down variation with some heat steam sounds after the shot. Air with electric and energy elements, some squelchy gooey stuff as well. Large gaseous plasma energy charging up.I may add some additional plasma like elements to complement the larger movements. You can also see some reflections of some additional plasma containing parts on the central cylinder. Adding some sweeteners like stuff clicking into place or small vibrations. Maybe some smaller mechanical and lighter movements here even though there isn’t anything obvious.This seems to be the main place where plasma flows through the weapon and steam is released. Here there’s some sort of core energy source with large mechanical parts with a lot of movement.There’s small latches mixed with larger pieces and they look like they could be made by a mix of metal and some plastic-like materials. There’s some varied mechanical parts and some electric/plasma energy sparking around.Here’s a couple screenshots of the BFG where I’ve highlighted some areas I think are worth focusing on for our “literal” analysis, I’ll go into more detail on each below the images. The second is finding the “emotion” and/or “world-building” parts to make sure my sound fits in the world and has the appropriate emotional undertones. The first is finding all the “literal” parts making sure what I’m designing actually matches the visual and I’m covering all the important details. I like to approach breaking down sounds in two main steps. Just to be completely clear, all of the sounds in the video were put there by me for practice and study and I have no involvement with the original sound design for Doom (2016). ![]() ![]() ![]() This is of course wildly impractical but we can get a really interesting base to our sound that we may have never considered otherwise by limiting ourselves to only one object. For the purposes of this demo we are going to entirely focus on the gun’s mechanical and shooting sounds and ignore everything else. I’ll be doing all of the sound design with a beer can as source. Rather than try to explain my approach in a void, it’ll be much easier if I just go ahead and make a sound using it and I’ll explain myself as we go along.įirst thing we need is something to design! I’ll be doing a re-design of the BFG from Doom (2016). It’s also just fun to push sounds really far. ![]() This is definitely not the quickest or most practical way to design sounds but it can really help when you get stuck or want to come up with some more creative ideas. I’ll be showing you how I go about breaking down complex sounds into simple little sounds that we can easily access with household objects, and then we will build our complex sound using these techniques. Designing sounds for really large or complex objects can be really intimidating especially for younger sound designers and those with limited access to sound libraries.
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