For this month's interview post I sat down with Brad Meyer, a sound effects editor here at Boom Box Post. Brad spends a lot of his time designing exciting, signature sound effects for his shows, especially vehicle sound effects, using both custom recordings and sound library material. Brad sat down with me to talk about his process for creating the signature sound effects for a demonic race car that is possessed by monsters.
This vehicle acts like a normal car physically, so I needed all of the same sound components I would use the normal car, but with some scary monsters in it. I needed accelerations with monster growls and ruckles, revs with roars, pass-bys with roars and growls and an idle with a ruckle. I created all of the elements in advance to use throughout the episode and give them a common sound.
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The source for the vehicle material was a 1975 Cobra. I took the plain rev from the Cobra, and sweetened using some zombie screeches, as well as large animal roars that I processed using the Waves Doubler. This doubling effect de-humanizes the sound a little, masking the animal source and darkening it. I also added in some custom goblin recordings we had made previously, to add some high end. I layered them together, lining up the peak of the rev with the attack of the growls. I generally tried to use a similar monster sound to whatever the car was doing. For example, a rev is similar to roar, an idle is similar to a ruckle. Using like elements helps tie them together.
Similar to the revs, I took the natural acceleration recording of the 75 Cobra, and layered in a zombie group recording. Within the group record there are ebbs and flows so I took the ebbs and flows and lined those up with the natural movement of the engine. To finish it off I added a layer of ruckle underneath.
I basically took the monster elements I used on the acceleration file and processed them with Waves Doppler. I used a similar technique as I did with the revs to line up the monster material with the regular Cobra pass-bbys.
My top tip is to learn from the pros. When I was writing about an abandoned fairground in my middle grade novel, I found an interview with the sound effects team behind horror movie Hereditary. They described in detail how they manufactured the sounds of wind whistling through a dilapidated building, and it was a huge help to me. Here are some other interviews that might help get your brain ticking:
Siobhan O'Brien Holmes is a developmental editor working with middle grade and YA authors. She specialises in speculative and genre fiction, particularly horror, fantasy, mystery, sci-fi and anything with a dash of magic or macabre. She is a member of the SfEP, EFA, ACES, British Fantasy Society, Horror Writers Association and SCBWI. She has an MA in Novel Writing and an MA in Children's Literature.
Robotic like sound created in Adobe Soundbooth. Very scary great for halloween or horror flick. The MP3 version is the smaller so it can load on the page for preview. The WAV version is the full version and is 1 minute of quality audio.
Imagine yourself in a place so completely filled with ghoulish evil Sound Effects, surrounded with so dark and devilish eeries sounds, that your entire body simply freezes from the fright. Now listen... the sounds you might hear at that horror-filled haunt have been captured for The Hollywood Edge's collection THE EERIE EDITION. The Edge Team has gone into that deep, dark place, where ghouls, ghosts, goblins and things go bump in the night hide, and pulled from it the most frightening and haunting sounds ever captured. Some of Hollywood's top film sound designers and freshest talent in film composing have put their best efforts together to bring you the latest and most eerie effects and music yet!
Originally a 3 CD set, this download library is packed to the brim with sound effects, ambiences, strange vocals, disturbing music, twisted metal, dry ice on metal, original and fully orchestrated musical transitions and beds that will be just what you need for that tense, frightening, horrific moment!
Scary Voices sound pack makes even bears run for their lives! These sounds are three spooky voice sound effects with reverbs, pitch shift, and delay echoes that create a situation of a visit from another dimension, of horror, terror, or they can resemble Halloween sound effects. These are perfect for your movie projects, trailers, games and animations, cartoons, you tube and social media content and more..
Here are some of the tools and plugins that I work with most of the time: For Pitch shifting I use the offline pitch shifter or Pitch Driver in Nuendo or RX5 Advanced, the zPlane Elastique Pitch V2, Waves SoundShifter. Time stretching is mostly done with the algorithms provided in Nuendo, Studio One, Ableton Live or Pro Tools. The Dehumaniser tool also does a great job, as it combines several pitch engines, doublers and other effects.
Another very interesting and powerful techniques are Vocoding and Formant Morphing. Both can be used to blend two sounds and their characteristics with each other. For instance a human voice with an animal sound like a tiger or something else. Put simple, vocoding transfers the filter characteristics/modulation of one sound (voice, mouth) to another (Tiger growl). I really like the Waldorf Lector and Sugar Bytes Robotronic for Vocoding. Formant Morphing, however, transfers/morphs the Formant- or Spectral Characteristics of one sound to another or lets you seamlessly blend between each other.
Construction Kit (3151 Sounds):
Unlock a world of possibilities with a massive set of generic components like clicks, whooshes, pops, and textures, alongside elaborate recordings for specific contextual needs such as coins, paper, medieval weapons and many more. Explore elemental textures like water, wood, stone, etc for added depth and a comprehensive arsenal of percussive and tonal instruments.
The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.
So we made Glitter to offer a huge range of designed and source sparkling magic sound effects to your arsenal. Whether you need to complement particles effects, magical spells or any other fabulous wizardry, you can count on this minty fresh library to deliver dazzling audio, over and over again.
The Glitter sound library is built in two distinct sections: Source and Designed. The Designed section offers rich and inspiring sounds ready to be dropped in your project. The source folder includes various recordings used to create this library, should you want to wander down the path of creating your own glittering adventures.
You know what I'm talking about- it's in literally Every Single Show now (movie, TV, game, whatever) & it's the new go-to audio cue for "something dangerous is happening". It's a spacey metallic scraping noise that sounds kind of like a giant, pitched-down electric razor or something, usually with a bit of a reverb tail on it, usually lasting for between 2-4 seconds.
I've been driving myself insane trying to find it, or at least find a reference to it online, but nobody seems to know what I'm talking about even though it's Everywhere these days. You can hear it most often in thrillers & horror-type movies, but like I said, it's like the new go-to audio cue for ratcheting up tension so you even hear it on children's cartoons now. PLEASE- does ANYBODY out there know what I'm talking about, & if so, do you know what it is or how to make it?
There are many different versions of it out there (brighter, darker, etc), but all essentially similar, so I'm assuming it's not an individual sample that's being re-used, but one that is created new each time using the same process/technique- but I could be wrong.
Bowed metal and Waterphones are very a-typical of the sound you are describing. Go and demo some of the many great Cinematic trailer SFX libraries from people Like Time Prebble (Hiss and Roar), Frank Bry (The Recordist), Boob Library and the like. You will find that man of them sell amazing libraries with cinematic stingers for reasonable prices. Some of those helped me figure out how to create my own. Almost as important is that they helped me look good to me clients! :-)
Dollhouse, Season 1, episode 7, 44:35... this sound has been eating at me ever since I made the connection. Infer from this what you will, but I believe certain sound combinations are used to trigger memories, senses, and emotions. Much in the same way color cominations and symbolism are used in entertainment, advertising, etc. Other seemingly overused sounds like the one that sounds like a cross between a buzz saw and a low scratchy violin note with lots of reverb, and that really slow bass drop used in slow motion parts of action sequences. Have you ever felt that drop with the speakers up.. it actually feels like its tugging at you. I guess there are desired effects to be had from all of these sounds and their timing, really .
Scary sound effects form a crucial part of the cinematic universe. They transform the most ordinary scene into something foreboding and terrifying. A single drone can hint at the ill fate of a character. As anticipation builds, a thumping heartbeat picks up in tempo and becomes louder, while eerie layers of ambient noise suggest that the climactic moment is approaching. Without these sounds, the audience would only see a character walking through their environment. 152ee80cbc
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