"not perfect" dude you coulda fooled me, this is identical to my ears
@anthonyturi9 күн бұрын
Thanks so much for the kind words! :)
@FLEXERSWAG11 күн бұрын
hard af
@anthonyturi11 күн бұрын
@@FLEXERSWAG flexer goat in my comments 🤝
@Soadsgotaload12 күн бұрын
Gots some major Halo Needler vibes love it!
@anthonyturi12 күн бұрын
@@Soadsgotaload thanks dude! That was the goal, while also trying to keep it positive and somewhat organic sounding in-line with LW’s kit.
@AftertouchAudio17 күн бұрын
Very well done on the video =^.^=
@anthonyturi17 күн бұрын
@@AftertouchAudio thanks man, big fan of your content 🤘🏼
@ZLPod17 күн бұрын
sickkkjob dude
@anthonyturi17 күн бұрын
@@ZLPod 🫡 🤝
@Soadsgotaload18 күн бұрын
Love the reload sound the textures to the vortex thing are sweet and it has a really solid start and finish that tell the player when the reload is finished!
@anthonyturi18 күн бұрын
@@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.
@xylvnking18 күн бұрын
Hell yeah sounds sick
@anthonyturi18 күн бұрын
Thanks man, cheers 🍻
@solfal18 күн бұрын
Very ominous, great job!
@anthonyturi18 күн бұрын
Thank you!!!
@jorela815019 күн бұрын
Great stuff! On the subjects of transients, how would you approach making crunchy, distorted transients like Brute Force by Boom ?
@anthonyturi19 күн бұрын
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 :)
@jorela815018 күн бұрын
@@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
@anthonyturi18 күн бұрын
@@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!
@KuletXCore21 күн бұрын
0:06 AND DEY SAY button
@marcwillysfx22 күн бұрын
Really cool!
@anthonyturi22 күн бұрын
@@marcwillysfx thank you!
@DAOE_Audio25 күн бұрын
Sounds awesome!
@anthonyturi25 күн бұрын
@@DAOE_Audio thanks so much!
@jamesmeustache774028 күн бұрын
Thanks for sharing! Quick question : how do you use LUFS metering when making sound effects ? What should we aim for in terms of loudness ? Or do you use this just as a reference to make sure you're just not too low ?
@anthonyturi28 күн бұрын
(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
@henqification29 күн бұрын
apologies if this comes across as snarky, but i'm genuinely curious. if you want a transient sounding like a kick drum, why not simply make/use a kick drum?
@anthonyturi29 күн бұрын
@@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
@henqification29 күн бұрын
@@anthonyturi thank you for the detailed answer! that makes a lot of sense
@xylvnkingАй бұрын
Absolutely killer
@anthonyturiАй бұрын
thanks so much, Dylan!
@SoadsgotaloadАй бұрын
First! Such a great reel think my favorite part about it is that everything sounds really big and powerful but you aren't losing that high range detail that makes it aesthetically pleasing and catchy. Think my favorite part is the bow and arrow in the WOW clip so many interesting layers and dynamics going from high end to low end and back.
@anthonyturiАй бұрын
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.
@DuskgustingАй бұрын
The reload is so cool!
@aikmingАй бұрын
Awesome video, Thank you for sharing this!!
@anthonyturiАй бұрын
Thanks for the kind words, hope it was helpful :)
@_.Ok.Ай бұрын
Really great! The reload is very nice, but the firing sounds a little forceful.
@anthonyturiАй бұрын
I forgot to mention it in the video, but if you're interested in downloading the Phase Plant presets that I've designed for this video, they can be downloaded here: drive.google.com/file/d/1uhzzI3HvKavc83cYPwsE7ps37KPYCTFN/view?usp=sharing
@ckosmicАй бұрын
I know nothing about sound but I’m glad KZbin started suggesting low view videos like this
@anthonyturiАй бұрын
@@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 :)
@dubchungАй бұрын
Stumbled upon your channel today, thank you for sharing your process! As someone who's just starting on the transition into Reaper from PT, I would love to see a quick walkthrough of your setup + any tips for noobs
@anthonyturiАй бұрын
@@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 :)
@dubchungАй бұрын
@@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.
@KinodeVGMАй бұрын
This is awesome and very useful! I'm pretty much a noob when it comes to mixing and sound design, so whever I'm working on SFX again I'll probably come back to this video.
@anthonyturiАй бұрын
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-audioАй бұрын
What a great video!☺️
@anthonyturiАй бұрын
@@wasin-audio thanks man!
@SchmorgleАй бұрын
Love KH, love Phaseplant, love this sound!
@anthonyturiАй бұрын
@@Schmorgle you’re the best 🤝
@BearBoyJWАй бұрын
This is great stuff! I found this video on an accident and I'm super glad I did honestly! Drop ya a sub!
@anthonyturiАй бұрын
@@BearBoyJW thanks so much! Really appreciate the kind words :)
@alecviera_Ай бұрын
Fantastic work!! I'm obsessed
@anthonyturiАй бұрын
@@alecviera_ thanks, Alec! :)
@artistmainАй бұрын
This voice make this skin much more awesome.
@anthonyturiАй бұрын
@@artistmain thank you!
@DamonkangАй бұрын
Learn a lot. Thanks
@anthonyturiАй бұрын
@@Damonkang glad to hear that! Thanks for watching :)
@anthonyturi2 ай бұрын
For those curious about the rainbow-colored sampler up top in my Reaper session, that’s Global Sampler. It’s a free sampler that’s always recording your DAW’s output so you can quickly grab bits and pieces of audio that you like and then toss them back into your session. You can place it on an individual track, on your Monitor FX chain or on your Master track in order to grab audio that’s processed through a signal chain of your liking. It’s a much faster alternative to routing through a print track and manually recording. It can be downloaded for free here: forum.cockos.com/showthread.php?p=2506514
@extrathicc78Ай бұрын
wtf this is so goated
@Cloud2KK2 ай бұрын
what is this rainbow thing you use to copy paste sound effects?
@anthonyturi2 ай бұрын
@@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!
@Cloud2KK2 ай бұрын
@@anthonyturi man youre quick , was just about to delete my comment because i found it haha thanks
@Cloud2KK2 ай бұрын
@@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
@anthonyturi2 ай бұрын
@@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 :)
@Cloud2KK2 ай бұрын
@@anthonyturi awesome thank you <33
@gambetta_2 ай бұрын
amazing
@anthonyturi2 ай бұрын
@@gambetta_ thank you for the kind words!
@Tokolovessound2 ай бұрын
Smart technique 🏄
@anthonyturi2 ай бұрын
@@Tokolovessound thanks so much!
@chrisjamesgameaudio24682 ай бұрын
Nice. Gonna give this a go now. Had no idea about Containers in FX chains either! Thanks
@anthonyturi2 ай бұрын
Awesome, I hope you're able to get some useful source content from it :) FX Containers are a gamechanger too!
@Iskra_Audio2 ай бұрын
Thanks for sharing your process! I LOVE global sampler! Truly an amazing tool
@anthonyturi2 ай бұрын
@@Iskra_Audio it’s the best! I often wonder how I worked without it in the past haha
@kbtvstudios95282 ай бұрын
I’d love to see a Kiriko version of this too
@anthonyturi2 ай бұрын
That’d be fun! Any particular skin you have in mind?
@KuletXCore21 күн бұрын
@@anthonyturi there is an Omnic variant of Kiriko and she doesn't have the voice filter
@Soadsgotaload2 ай бұрын
Sounds awesome! So all the sounds in here are made with impulse responses?
@anthonyturi2 ай бұрын
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.
@ulyssesatsea2 ай бұрын
Really like the sub frequencies on this. Subtle, clean and still present
@anthonyturi2 ай бұрын
Cheers man, it took all of my self-control to avoid cranking up the subs like an Omnic voice lol
@ulyssesatsea2 ай бұрын
ooo, very good
@anthonyturi2 ай бұрын
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
@ulyssesatsea2 ай бұрын
@@anthonyturi ay glad to hear we have more people attempting this kind of thing. All the best crodie
@rafi95946 ай бұрын
i was there, i remember this night. me nad my gf came here with barely any money and stayed overnight in weird ass places tryna make it to the next day to see teh show. we met some cool people, i remember these 2 girls who called us cute together, and this one dude who came from minnesota to see this.damn, i miss this night.
@anthonyturi6 ай бұрын
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 :)
@BonYusoArts6 ай бұрын
PERFECT
@HazeAnderson9 ай бұрын
Thanks for a great month of really cool SFX! 👉😆👈
@anthonyturi9 ай бұрын
Cheers mate, you as well! I’ve loved the tones and textures you’ve generated with your submissions :)
@FLEXERSWAG9 ай бұрын
really nice
@anthonyturi9 ай бұрын
I’m gonna email you soon, I’ve had a Serum preset pack for you for a minute and just forgot to send it
@Trinsid10 ай бұрын
Cool stuff
@anthonyturi10 ай бұрын
Thanks for listening :)
@Trinsid10 ай бұрын
@anthonyturi Yeah man! I'm also learning about sound. What was your process like with this?
@anthonyturi10 ай бұрын
@@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 :)
@HazeAnderson10 ай бұрын
nice!!! 👉😆👈
@cablobb10 ай бұрын
Sounds like the beginning of an Excision track
@HazeAnderson10 ай бұрын
these are awesome 👉😆👈
@HazeAnderson10 ай бұрын
👉💥👈
@HazeAnderson10 ай бұрын
Short n sweet!! 👉😆👈
@zegan_audio10 ай бұрын
sounds sooo goood
@anthonyturi10 ай бұрын
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 :)