I don't really know what Podcast mean, but could you resume the stepts I have to follow in order to find the sound effects (as I told, I am searching sound effects like an explosion, or an animal sound), watch this video to understand better what I am reffering to: =VkSowcnVQmA

I recorded a few hits on my clothes hamper for a deep impact for one of the body layers, and then decided to head out of my bedroom and to the kitchen for more sounds. In the kitchen, I recorded the sound of a ton of silverware being rustled around inside one of those utensil holder things to get some high end for the body and maybe the transients too. I found a Pringles can that I dropped on the floor and counter to get some impacts. The impact made this really loud yet metallic and mangled sound that I thought would be really cool for something (it turned out being integral to the sound). Lastly, I turned to the metal stools next to the counter top and dropped them on the ground a couple of times to get a harsh impact. With a lot of recorded source gathered, I headed up to my room to noise treat the samples and start layering!

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I began by layering the transient first before moving onto the body. I needed to get a really sudden, high-mid to high range burst that sounded harsh and explosion-y. My first instinct was to pull from the basket hits and pitch them up two octaves. They produced the nice mid and high frequency pop that I needed to get the initial burst of the explosion sounding sudden and powerful. I found that it still needed a lot more harshness, so I reached for my cardboard recordings since they were really gruff and violent sounding.

Now it was time to make the main (and most fun) part of the explosion: the body, or the actually explod-y sounding part! I used three main recordings for the layers of this part of the sound; a laundry basket hit layer for the oomph, a silverware rustling layer for lots of harshness and warble, and a layer of the hamper punching for even more low end and beef as well as a bit of an initial trail off.

Last but not least came the tail of the explosion. This part was integral to making the explosion convincing and have presence, so I knew I needed to get it right. I had to experiment quite a bit with my recordings to find something with a nice low end and trail to it, but I eventually ended up settling on using the metal chair stool impacts and the Pringles can dropping for the tail. Making the tail was pretty straightforward once I had the samples. I started by pitching both of them down as far as I could without any artifacts.

For effects, I used my favorite compressor (the Waves CLA-76) to smooth the dynamics out a bit while still giving a little extra oomph, as well as some simple reverb and delay sends to make the tail last even longer.

With all the layers done, all that was left to do was arrange them for cadence and apply some master effects to the layer group buss. I used the CLA-76 again to get the peaks of the explosion pumping a bit for even more oomph and beef, more multiband compression to treat the dynamics a bit and increase the low end a bit more, and lastly applied a little high cut to get rid of some harshness that was just too damn harsh. And that was that! I was really satisfied with the result of my work. The whole process only took about 3 hours.

As I mentioned, my explosion ended up being picked as one of the three winners in the GoRecord challenge! I was so happy when I first heard the news. The competition was very stiff and all of the submissions were awesome! I hope the next episode of Waveform features another GoRecord challenge as this was a great exercise for me.

I have created the sound effect but there is an annoying noise somewhere at the beginning(0.25-0.45s) of the track. In your .flac file, there is no such noise. Did I something wrong? How can I avoid this annoying noise?

My file: =0

I create sound effects for my first mobile phone game. For example, if the player touches a bomb, the explosion sound effect should be played immediately(only once).

In addition, what is the best way to make a sound effect quieter or louder?

Adobe Creative Cloud software includes thousands of uncompressed, royalty-free audio sound effects. These files have been grouped together by type and compressed into ZIP archives that can be downloaded using the links below.

Is there a common term among film sound designers for the trope in which we enter a character's audio perspective after gunshots or explosions to experience their hearing loss and tinnitus ("eeeeeeeeeee")? Saving Private Ryan is often considered the most influential example of this effect, though there are at least a couple earlier films. I have a list of films with this effect here. If you have any to add after looking at the list, I'd appreciate it.

One "funny" thing though - in reality, I've studied a few people having suffered through hearing-damage through loud sounds (time spent in hell with tinnitus, hearing-loss and hyperacusis in different degrees...didn't envy them...), and for some reason none of them actually experienced anything until the morning after. I don't know if there are any extensive studies in this, but all of my subjects had experienced it thisway! With that said - I still think it's a good thing to use when illustrating things like this anyway, especially as it is indeed the same thing anyway though delayed, and we do work with creative licence in many ways!

In my case, it was a particular bad blast of high range feedback that knocked my sound sensitivities all over the place. There were unnatural gaps in my frequency response of my hearing and certain sounds even seemed slightly pitch shifted.

This is a Warner Bros. sound effect that is not on the Warner Bros. Sound Effects Library, from Sound Ideas. It is nearly the same as CARTOON, EXPLOSION - POWERFUL EXPLOSIVE BLAST from the library but without the reverb effect.

Unlike most other mineral ores which can be found by mining into the depths of the underground, Moonstone ore is found when a Moonstone Meteor strikes the surface at night. These moonstone meteors create small, almost unnoticable craters upon collision with the ground, along with a sudden explosion sound which may be heard more than 100 blocks away.

Its a RZA type sting, like the sounds used when The Bride sees BB for the first time and the outtake where Bill fights Da Moe. It must be some classic kung fu sound FX he sampled. I have no idea what film its from. The Navajo Joe music doesnt start until Bill gets up to take his last steps.

We caught up with Barney Oram, Sound Designer and Sound Effects Recordist (Sweet Justice Sound) to find out about the challenging and exciting process of recording explosions sounds. These bespoke explosion recordings have been brought together to form our latest library, the Explosions Sound Effects Library.

I began fiddling with sounds and music when I was very young, and it quickly became an obsession that continued through my education and became a career. I made electronic music for many years as a teenager, and was introduced to sound design while I was at university. I decided to pursue sound design within the context of video games, and after a lot of trying and failing, I made my way into the industry!

In the last few years I set myself the personal challenge of recording as many explosive sounds as I could, both to learn more about the process of recording very loud sounds, and also to improve my skills on the design side. I began small; recording fireworks and small firecrackers, then explored recording cannons and larger film-industry standard pyrotechnic explosives, and eventually found my way into recording some much larger explosive charges.

Secondly, thinking about the acoustic nature of the space is vital, on account of the characteristics it will impart to the final sound. An explosion is effectively just a very loud burst of noise, and the unique character comes from the reaction of the physical space it is recorded in.

The far perspectives tend to have a nice rounded transient, with a bit less high frequency energy and much more low end presence. I used a mixture of condenser microphones at this distance, and some handheld recorders. One of the real standout distant perspectives in this library comes from the very unassuming Tascam DR05 handheld recorder, placed at 300m for a few takes. Despite having tiny capsules, the Tascam captures low frequencies with a fantastic depth and tightness, resulting in a really interesting bass-heavy distant sound.

Generally speaking most of the explosive materials sounded reasonably similar, as the largest contributor to the sound of the explosive is the environment it is fired in, so we varied the source point within the quarry so as to introduce subtle changes in the acoustic response.

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Explosion sound effects are an emblem of ultimate power, from the creative force of the big bang to the world-erasing nuclear bomb. When scaled down to a kernel of corn in the microwave, we use separate words like pop or bang instead. Applied to storytelling, explosions mark a moment of climax and transformation. In this article we'll offer several examples of explosion sounds that occur in film.

We've hand-picked a collection of royalty free explosion sound effects from the Audio Design Desk collection. Have a listen to them below and you can download them for free if you find something you like. To access a bigger collection, check out our Modern Battle Kit, Booms, and SciFi Weapons sound packs within Audio Design Desk. From sub impacts to the scattering of debris after an explosion, these packs are the perfect addition to any cinematic trailer 0852c4b9a8

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