Thanks so much for the kind words! :)

@@FLEXERSWAG flexer goat in my comments 🤝

@@Soadsgotaload thanks dude! That was the goal, while also trying to keep it positive and somewhat organic sounding in-line with LW’s kit.

@@AftertouchAudio thanks man, big fan of your content 🤘🏼

@@ZLPod 🫡 🤝

@@Soadsgotaload thanks man! Happy to hear the audio cues came across. I wanted some sounds to relay the start/end of the reload, but without going toooo tonal.

Thanks man, cheers 🍻

Thank you!!!

Thank you! This is a great question. So I wasn't familiar with that library by BOOM, but I checked out their trailer, and it instantly sounded familiar. These sorts of crunchy sounds can be heard all across modern AAA games as well as big budget action films. As is the case with most sounds, the key is to use appropriate source material. For those Brute Force-style sounds, I'd reach for organic impact field recordings such as rock impacts, explosion sounds or close-proximity firearm ballistics. For more trailer-ized sounds that may involve synthesis (ie: risers, downers or whooshes), I'd reach for simple, clean tones that aren't too wide at the source. Throwing too much Chorusing/Phasing/Flanging on a synth can dull transient detail, either for better or for worse. If I were designing in the Brute Force style, I'd probably sample tones in the 60 Hz - 200 Hz range and then provide some destructive processing to squeeze out as much detail as possible. The processing for these sounds tends to be fairly simple. Once you have some good source material, I'd encourage you to use the following effects: - heavy compression (while being mindful of your attack/release times to avoid ruining the transient fidelity) - distortion (I'd imagine Soundtoys' Decapitator and/or Black Box HG-2 are excellent for that sound) - using transient shapers for some elements to really accentuate the initial impact (I like SPL's "Transient Designer" plug-in, as well as "Crack" or even kiloheart's free "Transient Shaper"). You can use a similar method as in this video to create these short, distorted layers that you can arrange one after the other to create more complex sequences. - clipping (I love "KClip", and find that driving a sound effect into a clipper prior to your limiter can really bring out those crunchy details). - sub bass enhancement (Waves' "RBass" or Brainworx's "Subfilter" are great for generating these subharmonics and "thickening" your sounds) Those are the primary effects that I would use, and can distinctly hear in the BOOM trailer for "Brute Force". You may also want to experiment with Doppler effects for the more movement oriented sounds like Whooshes or pass-bys. Ultimately, whatever sounds best! Cheers :)

@@anthonyturi awesome Anthony thank you so much. I'll try this out and come back to you if I have any interesting things to add. I think I hear quite a lot of Filterfreak on some of those sounds and I'm thinking some envelope following on the distortion could work too

@@jorela8150 No problem! Yeah for any movement/doppler/whoosh sounds, I have no doubt they may be using envelope followers to drive different filters. Brute Force appears to have quite a bit of variety across sound types, so their processing is likely far different when comparing whooshes to impacts. Feel free to reach out if you ever have any other questions!

@@marcwillysfx thank you!

@@DAOE_Audio thanks so much!

(Edit: not sure why KZbin struck a line through some of my text below, but please disregard that!) Hey there, thanks for watching :) This is a great question. LUFS metering can be especially useful when we want to keep our assets at a uniform level, usually as a premixing step. That is, if you owned all of the ambience audio design for a video game, it would be beneficial to mandate several LUFS values that you would export your assets at to make mixing in middleware or in-engine easier (eg: - 18 LUFS for close-medium proximity sounds, -23 LUFS for distant sounds, etc.) In my opinion, mandating this is essential when working on large-scale projects that could easily have hundreds of thousands of audio assets. This sort of uniformity allows you to confidently lower or boost a whole subgroup of assets in one broad stroke, rather than level matching them all and THEN performing a boost or attenuation. Getting this right at the source level will make your life way easier down the road :) As far as what LUFS value we should aim for: with video games, it's sort of the Wild West. Most projects I've been on adhere to an average of -23 LUFS Integrated over an hour of gameplay, +/- a few LUFS values to account for big moments or more subdued, quiet slices of gameplay. As it pertains to this video, I didn't approach designing the assets with any values in mind, I was just jamming. I find that most sounds I work on in my free time tend to end up in the -18 LUFS-I to -23 LUFS-I range, as I try to avoid overcompressing them. I'm mainly using the metering as a tool to check the phase coherence while avoiding being tooooo loud. However, when I'm mixing music, those loudness standards tend to be much different haha

@@henqification not snarky at all, it’s a valid question! You could totally just load up a kick drum sample and run it through a chain like this to accentuate the transient. That’s actually the approach I tend to use most of the time when I don’t want to split up the “transient” and the “punch” of the sound”. The method in this video is just a surefire way of generating that same sort of layer out of just about any sound, assuming that you don’t have a library of good kick drum samples to pull from. Also, I’ve found that sometimes, kick drums are too “rounded” out and not pointy/sharp/clicky enough to act as the initial transient of the sound. I tend to prefer using these layers at the very start of my SFX, and then layer on a smoother, more rounded out kick drum sound to act as the “punch”. Typically, that involves the transient being the first sound heard, and then the punch/kick drum layer being delayed by several samples. This creates a rhythmic impact that can sometimes read more clearly than if you just used one of these sounds to account for both the impact and the punch. I hope that makes sense. In retrospect, I should have designed a quick sound using this as a layer to better show how I’d incorporate it in a final design. I’d encourage you to check out Mark Kilborn’s video on firearm weapon sound design, as that includes a practical example where the transient is split up from the punch sound: m.kzbin.info/www/bejne/m2i4ZIF6h6eYhZo

@@anthonyturi thank you for the detailed answer! that makes a lot of sense

thanks so much, Dylan!

Thanks so much, Clay!! I appreciate that you noticed some of these design decisions. There are a lot of sections with room for additional sounds in the WoW clip (eg: when the rocks explode behind Sylvanas, and subsequently when another rock projectile comes towards her). I tried to keep the mix focused on the essential elements and opted to omit some of the extraneous sounds for clarity.

Thanks for the kind words, hope it was helpful :)

@@ckosmic thanks for the kind words, I’m happy to hear that! Apologies if the video was a bit technical; I understand this could make it less accessible for other folks who don’t have a background in audio. In any event, really appreciate you taking the time to watch :)

@@dubchung hey there, thanks for the kind words! I made the transition from PT -> Reaper as well, and it was definitely tough. It took me a really, really long time to get my actions setup to be as close to Pro Tools as I could get it. If you’d like, I can email you my Reaper configuration file. If you’re not already familiar with how those config files work, you simply need to import it via the Reaper settings, and it should immediately assign your actions to be similar to mine, which will feel intuitive if you come from PT. If you’re not already familiar with Noah Sitrin, I recommend checking out his channel! He has a video about his Reaper template setup, and mine is very much inspired by his :)

@@anthonyturi That'll be amazing actually! You're too kind! My email is [email protected]. I immediately did notice similarities from Noah's setup, I was not aware he made a video of his template. Thanks Anthony! Keep up the good work.

glad to hear it was helpful!! I also encourage you to check out Aftertouch Audio's video on magic textures, if you're interested in learning more about this design style :) Link: kzbin.info/www/bejne/rnnFhIicZsZ-eJY

@@wasin-audio thanks man!

@@Schmorgle you’re the best 🤝

@@BearBoyJW thanks so much! Really appreciate the kind words :)

@@alecviera_ thanks, Alec! :)

@@artistmain thank you!

@@Damonkang glad to hear that! Thanks for watching :)

wtf this is so goated

@@Cloud2KK that’s Global Sampler: forum.cockos.com/showthread.php?p=2506514 I believe there are comparable alternatives for other DAWs if you don’t use Reaper, but Global Sampler is super helpful and free!

@@anthonyturi man youre quick , was just about to delete my comment because i found it haha thanks

@@anthonyturi by the way.. do you know if this exports at the same quality i would get if i would render manually via reaper? cant find anything online about it

@@Cloud2KK Global Sampler, by design, is sampling the audio at the project’s specified sample rate and bit-depth. That is, if your project is set to 24-bit/48 kHz, the audio you pull into your session from the Global Sampler will be of those same specs. It’s best to think of the Global Sampler plug-in as a simple recorder that will constantly capture the last 60 seconds of the corresponding track’s output. It’s no different than if you were to route the output of one track to another and record everything post-fader. Now when it comes to exporting/bouncing your audio out of Reaper, you always have the option to downsample/upsample your files and/or modify channel count. So if your session is set to 24-bit/96 kHz, your sampled media would also be 24-bit/96 kHz, but you could always render that media as 24-bit/48 kHz, 24-bit/44.1 kHz, 16-bit/44.1 kHz, etc. The pros and cons to downsampling are a whole other subject that could incur aliasing artifacts, but all of that is to say you have the flexibility to modify those rendering options after the fact :)

@@anthonyturi awesome thank you <33

@@gambetta_ thank you for the kind words!

@@Tokolovessound thanks so much!

Awesome, I hope you're able to get some useful source content from it :) FX Containers are a gamechanger too!

@@Iskra_Audio it’s the best! I often wonder how I worked without it in the past haha

That’d be fun! Any particular skin you have in mind?

​@@anthonyturi there is an Omnic variant of Kiriko and she doesn't have the voice filter

Thanks man! All sounds are manipulated in one way or another using convolution reverb. The sound sources themselves are comprised of hydrophone recordings, synthesized textures and drums. All sounds are routed to a stereo bus where I’ve automated the wet/dry percentage of convolution reverb for different VFX sections.

Cheers man, it took all of my self-control to avoid cranking up the subs like an Omnic voice lol

Thanks man! Your robo Junkrat voice redesign spurred me into making these. There’s quite a few skins in the game right now without voice filters that could really benefit from having some sort of processing lol

@@anthonyturi ay glad to hear we have more people attempting this kind of thing. All the best crodie

That’s beautiful. The venue was super unique and I also came from out of town for the show, it was incredible. I hope they tour the US again sometime soon :)

Cheers mate, you as well! I’ve loved the tones and textures you’ve generated with your submissions :)

I’m gonna email you soon, I’ve had a Serum preset pack for you for a minute and just forgot to send it

Thanks for listening :)

@anthonyturi Yeah man! I'm also learning about sound. What was your process like with this?

@@Trinsid for Noisevember, I’m forcing myself to create something based on the prompt in roughly 30 minutes, so I’m usually just going with my first idea. I began designing the ambience using a mixture of whale sounds, hydrophone recordings of water, some sonar sounds I designed several years back, and then layered in some water splashing sounds. I then wanted there to be a bit of a narrative to it, so I designed the intro which is supposed to be some sort of scuba diver securing their oxygen tank and then plopping into the water. I used various electromagnetic recordings and some pre-designed sounds that I lightly edited for this section. After adding a person to the scene, I figured it would make sense to include their breathing sounds. Luckily, I had some recordings of a male breathing under a gas mask. The timbre didn’t quite match the resonances of a scuba diving mask, so I modified it a bit with EQ, a slap-delay, some lower-midrange boosts to accentuate the metallic resonances, a touch of super small room reverb, and then several layers of saturation and distortion. It’s been a fun little exercise each day this month, and it’s helped me to build up more content for my personal sound library as well :)

Thanks dude! Lots of areas I’d have liked to clean up, especially the covenant vocalizations during some of the distant perspective shots. Fun clip to redesign though :)