Sound design - how do you go about it?

[So-Fi]

Hi guys


I'm a fairly seasoned musician, but pretty new to DAWs, I'd like to know. How do y'all go about your sound design?
I usually have a sound in mind, when I create something, but the result never becomes the way I want it. I've begun experiencing with VSTIs and plugins such as Absynth and Oddity, but I still have a hard time finding my way around. I've bought and seen some of Nick's Tutorials and Groove3 Tutorials for sound designing, so I understand the basic principles of ADSR-envelopes, pitch etc., but I'm curious how people here on the forums go about THEIR sound designing, as I see the guys in the tutorials usually have alot of VSTIs, Plugins and audio units that they don't demonstrate in the tutorials (they usually only use ableton integrated add-ons and instruments). Therefore I feel that a world of sound and ways to go about creating sounds, pads, leads and so on has yet to open for me.

I guess what I want to know is how people overall use plugins, VSTIs and audio units and to what effect?

[Wunjo]

Well without starting a war I would like to point out that a lot of people modify the presets on those VSTs/Instruments to their liking and there is nothing wrong or uncreative about that IMO. But as far as my personal advice on sound design, would be to find an instrument that you like and that you feel comfortable with and learn everything you can about it. Go home on your lunch break and create a new sound everyday for a couple of weeks without really focusing on writing a song or motif, just work on the timbre or the sound and make what you're feeling and don't worry about playing what you're feeling (you can set time aside for that later). Once you feel comfortable with that particular instrument then feel free to move on to another instrument. Once you start getting a taste for the different synths, samplers, etc.. you will start to see that while they all can essentially achieve the same thing, they all have their own unique personality. A good example is Absynth. It is a living, breathing animal so treat it like one.

There is also a lot of really good literature out there on sound design as well as on the internet. I can't really think of any art in life where you can just read a book or watch a tutorial and instantly know how to make awesomeness though. Like everything else, it takes patience and skill. It's kind of like a rugby player who has very good technique(playing skills) but doesn't understand the rules of the game(music theory, sound design, etc..) and vice versa. You cann't really be worth much if you don't have both sides. Anyway, I hope this helps a little bit.

[Angstrom]

it depends what sort of sound design you are thinking of, synthetic lead/bass/VA pad type stuff? well that's all pretty easy. You just need to work through a few Sound-on-Sound magazine tutorials (synth secrets) and it will get you up to speed with the basics.

Once you move on to trying to make a sound like a bell tree being dropped down a mossy well and caught by a tin plated robot who has xylophone hands. Well, that's when it gets a bit more difficult.

It's a lot easier to make sounds like this which aren't intended to be played chromatically, off a keyboard. You can often make a lovely one-shot drone, or loop through progressively adding effects and using time stretching techniques, but these sort of sounds don't respond well to keyboard mapping.

If you are intending to make complex new sounds which can be played, and the sounds conform to your original idea then simply put you need to :#1 learn all the various synthesis methods, #2 learn something about DSP processing and what the benefits and pitfalls are of the various methods, #3 pick a few well featured tools which (when combined) cover most of these bases, #4 learn the fuck out of them over a long period of time.

number #4 is the crucial one. It's an easy solution to buy a set of tools .. but they will do nothing for you unless you are going to dedicate some real time to investigating them, and I mean several years.

[necho]

Depends very much on what you're after and what level you want to take it to (as Angstrom points out).

I'd actually describe myself as more of a sound designer than a musician/composer/producer/whatever. This is because all of my musical ideas come from sounds I've made. So my approach is to constantly push the envelope and find new was of making sounds.

I use synths, samplers and fx, as well as Metasynth and a Wave editor (currently the OSX beta of Adobe Audition). Sometimes, I start out with a clear idea of what I want - usually I use a synth when this is the case. Sometimes I like to record and manipulate audio - this usually produces more unpredictable results.

Having a personal catalogue of fresh sounds is critical for me. I can't start writing music without it. But I do have to keep experimenting and pushing myself to create new sounds, learn new techniques and avoid cliche.

I almost got arrested a few weeks ago for hanging around a local scrap yard at night with a violin bow, a drum stick and a field recorder.

[So-Fi]

All right, all of this makes sense.

But you asked me to be more specific. Okay... Say I wanted to make dreamy, yet quite analog-sounding leads, and noisy, crunchy pads in the style of bands like SALEM (try listening to songs like "Asia" "Frost" or "King Night" to see what I mean.

What kind of VSTIs or w/e do you reckon they'd use?

[moonpie]

Ive been trying to becoming better at sound design myself - trust me its easier coming up with sounds for a recording rather than a live band situation! Emulation of artist can always be a head melter. Its not necessarily a good idea to try have the exact same instruments to get a certain sound of a band. Because youll be dissapointed, broke and frustrated you cant hit exact sounds when you have them. Just listening to asia now, those sounds could come from a multitude of sources, and even if you have those sources, its your ear that counts - thats what you want to develop. As said above - DEFINITELY invest in one softsynth and learn it inside out 1st. Thats the best advice youll ever get as itll save you tons of money and also make you a better sound designer. You wont be able to make educated guesses to what synth you can move to next without knowing the limitations of the current one.

Two books that really helped were: The Dance Music Manual by rick snowman and Mixing Audio by Roey Izhaki. For what you want, the dance music manual covers things of both mixing and also - dont let the name fool ya, there are so many general mixing, sounddesign tips that can apply to all sorts of music. Sounddesign decisions are essentially mixing decisions.

And i guess - invest in monitors for the truest sound. I bought a pair of sennheiser hd280s recently, and although its much better from a sounddesign perspective - Its still not ideal.

I wouldnt have the setup for that type of sound for salem but, I dont know, I hear zebra and reaktor are good. Dont underestimate ableton for sound design. If you can find synth which you instantly love the timbre, and could work in it daily thats what you want.

[So-Fi]

You're most right, sir. Good points there.

Thanks for the advice everyone. It's certainly been fruitful
I guess the bottomline here is "practice makes perfect"
I'll keep on going!

[Wunjo]

In case you are looking more for some first hand names. here are some popular VST synths that I find have the easiest learning curve in asceding order:

1. Sylenth 1
2. Absynth
3. Zebra
4. Massive
5. Reaktor

Keep in mind these are only some of the heavey-weights in VSTLand. There is so much good software out there it's ridiculous. Remember what I said about synths all having personality, so pick one that fits with you then make sweet love to it.

[Broken Chip]

Salem's sound is not that complex as far as sound design goes. They use loads of distortion and extreme limiting by the sounds of it. You could even use presets from FM8 and achieve similar results.

[anybody human]

[quote="]
I almost got arrested a few weeks ago for hanging around a local scrap yard at night with a violin bow, a drum stick and a field recorder.[/quote]

Awesome

[The Carpet Cleaner]

two ways :

- go through presets, find one you like, and modify it a bit (or not).

- listen to your itunes. Hear something you like. Sample. Modify it in Sampler or Maschine. You got something unique.

[Slightlydelic]

two ways :

- go through presets, find one you like, and modify it a bit (or not).

- listen to your itunes. Ear something you like. Sample. Modify it in Sampler or Maschine. You got something unique.

have you had a go with the clyphx randomise feature in suites instruments?

[The Carpet Cleaner]

two ways :

- go through presets, find one you like, and modify it a bit (or not).

- listen to your itunes. Ear something you like. Sample. Modify it in Sampler or Maschine. You got something unique.

have you had a go with the clyphx randomise feature in suites instruments?

I haven't tried Clyphx. That looks really powerful, but not for me. It's like max4live, I prefer something simple and straight to the point