Just as weapon sounds can define a game, so can hits, punches, and kicks for games that have only melee combat as their primary combat system. This is one of the reasons why I wanted to include kick and punch sounds in my 8-bit sound pack.

I was wondering if anyone had any insight into how to record some wildly over the top punch sounds. Stuff that you might hear in an Hong Kong action movie, or something of that ilk. I've tried a few food products, and some compressing and limiting, but things keep falling a little flat.

Punching Sound Effects Free Download

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I like to think of such sounds as having two general components: a 'defining' one, and an 'impact' one. The defining one is what sounds up front and tells the listener what the sound is, especially if combined with picture. The impact one can be anything at all, designed only to pump up the sound to hyper-real.

For impact sounds, anything goes. A broomstick whacked really hard and flat onto a couch or mattress makes a great beefing-up component for a body hit. Other purely impact sounds: kick drum, fist-pound on closet door (tapered), car door slam (tapered), kicked or stick-hit cardboard box, leather belt snap, whip crack, etc.

In my opinion, especially what I'm loosely calling the "impact" component can and often should be gain-maximized and mixed with the "defining" so that the defining is still the part that gives the information as to what the sound is.

Whenever your teammate hits you, it is the worst sound in the game. Its like nails on chalkboard bad. It grates, and aside from the irritation of your teammate hitting you around (sometimes to troll, sometimes helpfully) it also makes me want to stab toothpicks into my eardrums so I cant hear it anymore. Please, just allow us to have the same sound effect for when we're being shot by our teammates. That one is at least bearable

Sound artist Matt Yocum (The Last of Us, Devotion) joins us for another exclusive tutorial, diving into how to sound design punches for movies and tv shows. Matt uses three unique clips to show what different punches might sound like in specific genres of film, using the CORE 4: Pro Bundle.

Successfully creating that feeling using sound design takes layering, paying attention to the frequency spectrum, being conscious of headroom, and using tools like distortion and limiting to amplify perceived power.

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I am trying to make a streetfighter style like game with circles and rectangles(too lazy to draw the art). However, when I play try to play a punching sound, it sounds like it was distorted. Same goes for the KO sound effect I play when a player dies.

Your problem is coming from the fact that the sound is being played multiple times on top of itself. This happens because every frame, you check if pygame.K_e is held, and then play the sound if it is. However, when you press a key, it's likely that you'll be holding the key for more than a single frame, so this leads to the sound being played multiple times on top of itself in quick succession.

Compressors automatically turn down the loudest parts of a sound, and as a result make the average level more consistent. So, you can turn the overall level up in the mix without distorting or "sticking out".

There can be all kinds of positive side-effects of this process, like making things sound fuller, richer, more controlled or punchier, but at the end of the day it's all about loudness. Not excessive loudness, but something musically beneficial.

Here's a fantastic video introduction to compression by Joe Gilder from the excellent Home Studio Corner blog. Check it out, and then I'll expand on some of the points he makes, and offer some suggestions for achieving specific effects using compression.

Don't be tempted to compress everything, or to over-compress. You might like to try using my Dynameter plugin as an aid to judging how much compression to use, but always listen to the sound before and after compression, and ask yourself these questions:

In particular, "classic" or analogue compressors are often driven hard for a distorted sound, or to exploit unusual settings, like the 1176's famous "all-button" option. To learn more about this, check out this post:

To get the additional sense of movement as the characters swished and clashed the weapons, Burtt simply played his sound over a loudspeaker. The humming and the buzzing combined as an endless sound, and then I took another microphone and waved in the air next to that speaker so that it would come close to the speaker and go away and you could whip it by, and what happens when you do that by recording with a moving microphone is you get a Doppler shift: a pitch shift in the sound and therefore you can produce a very authentic facsimile of a moving sound."

(function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = " "; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })();That screech as a TIE goes by is, at base, the sound of an elephant: although the noise has, obviously, been drastically altered in the studio.

(function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = " "; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })();''It's not really liquid...'' reasoned sound man Gary Rydstrom of the liquid metal T-1000. ''It doesn't have any bubbles in it. It doesn't gurgle. It doesn't do anything visually except flow like mercury...'' The perfect sound to match the visuals was created by putting a condom over a microphone and dipping it into an evil solution of water, flour, and the furniture cleaner Dust-Off. ''It would make these huge goopy bubbles,'' says Rydstrom, ''and the moment when the bubble is forming, it has this sound similar to a cappuccino maker. I believed it...''

(function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = " "; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })();What does a bullet sound like when it hits liquid metal? Turns out it sounds like a drinking glass being dropped end-first into a bucket of yogurt. The sound of the T-1000 morphing itself around the prison bars, meanwhile, is dog food being schlupped out of a can. ''A lot of that I would play backward or do something to,'' sound man Gary Rydstrom says, ''but those were the basic elements. What's amazing to me is ... Industrial Light & Magic using millions of dollars of high-tech digital equipment and computers to come up with the visuals, and meanwhile I'm inverting a dog food can.''

(function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = " "; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })();The cracking of the egg is an ice-cream wafer being crumbled, while the wet sound of the creature emerging was achieved by the foley artist squishing melons while wearing rubber gloves covered in liquid soap.

It's weird to make them but I enjoy it. I misspell the word I want to use like "Crack!" Becomes "K-rakkkk!"

I just go overboard, that way it's more dramatic.

"Th-wdd" is probably my favorite, for a nice meaty punching sound.

Personally I feel like "sound effects" in a nearly entirely visual medium is a very archaic and redundant concept. A lot of the time you can illustrate a sound much more effectively than you could through words, which it's the biggest strength of comics as a whole I feel. If you can SEE a massive impact, chances are your brain already filled in the blanks. Sometimes they can help, but I find the only times where that's the case is when they're taken into account with the entire composition in mind. Probably the best example of this is in the Jojo's Bizarre Adventure series, but even then it has a leg up because Japanese is inherently artistic because the entire language is literally painted. So yeah, imo sound effects aren't generally that necessary.

I had the same question a while back, got some useful replies if you need more examples here's the thread:

 Comic Sound Effects? Questions I'm working on a scene with a heartbeat sound effect, and it got me thinking of what onomatopoeia's people use for their comic sounds. Feel free to add yours and what sound/action they represent!

And I found this helpful, personally. Not only for designing SFX but also it talks about placement. The tutorial is for Adobe Illustrator but you can probably find your own way to do it in whatever program you use. I personally use PS CS5.

 clintflickerlettering.blogspot.com Lettering In Adobe Illustrator: SixPart Six: Sound Effects Sound effects are your friend. Nothing depresses me more than seeing feeble little effects tucked away in the corner...

I use bold and caps, but I also use the right font to get the sound accross. Impact is what I use for punching, knocking or booming sounds, bubble or liquid like fonts for splashing or such and so on. The font should match the sound and look like the element it is coming from. 0852c4b9a8

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