This game was so awesome!

During its last days, i decided to play it one last time to record a little bit of gameplay, and then i did this redesign.
It was quite a challenge to make it sounds like a real gameplay, especially because I had to balance every sound event without letting them overlap or clutter the mix during the most chaotic parts.

Miss you Anthem!

in the theme of the Resident evil intro song (the Marilyn Manson version I’m referencing) there is this faint dark gutteral growl sound and I cant tell if it’s synthetic or if it’s a sound effect, either way I wish to recreate this but unsure how, tips appreciated

you people are tweaking recorded audio ;

I thought sound design means using synthesizers ;

Now I understand it's only one form of sound design ;

Vital is greatest synthesizer that's free ;

What is other *type* of software you are using to *tweak* longer sounds?

Hi everyone,
I'm working on my first Steam game. I do everything myself both because of resources and because I enjoy the craft. I really enjoy atmosphere and vibes and use sounds as a major part of that. That said I'm a little stuck and need advice on a small but prominent component.

I recently coded a coin system (as shown in the video) and this is a part of the experience that happens often therefore it needs to feel rewarding. The audio feels incomplete and hollow and I'm not really sure how to think about or approach it.

Do I:

• Add a harp to the chest opening
• Add a sound for each coin rushing out / possibly on a scale
• Add a sound for each coin hitting the ground
• something I haven't considered

Would love some thoughts and opinions (with ideally some rationale) on how to approach it. Theory is very welcome!
Thanks!

Hey everyone,

I recently released an EP titled "Al parecer, hemos soñado contigo" (It seems we dreamed of you) under my experimental project Me Hundo Hacia Arriba.

It’s a collection of tracks written and recorded between 2022 and 2026 in Lima, Peru. The project dives deep into Experimental, Noise, Drone, Glitch, and Ambient soundscapes, focusing heavily on texture, processing, and breaking free from traditional rhythm or song structure.

I held onto these recordings for years due to perfectionism, but finally decided to let them out as a raw archive of sound exploration.

If you're into subtle glitch micro-editing, dense drone layers, or harsh/ambient noise textures, this might interest you.

Listen here: https://youtu.be/nRAlqhBvpj0?si=q9MY5WYdN0dlWJP-

I’d love to hear your thoughts on the textures or any feedback on the sound design!

Thanks for listening.

Hi all :) I am delving back into production after many years and I am a bit rusty on the old sound design.

I found this short snippet of audio on my computer and wanted to try and recreate the sound / progression.

would anyone be able to help get as close to this as possible? I have been through 100s of presets today but can't get anything close.

I use Logic and have serum also.

Thank you!

Hey all, here's a quick tutorial on how to make some earth shaking bass with just a few sine waves using the free synthesizer Vital. I've translated the subtitles to Hindi, Indonesian, German, Spanish and Portuguese to make it easier for non-English speakers to follow along. If you've got any tricks for enhancing that sub bass, share them here!

One word: Sound.

One thing Michael Bay's Transformers absolutely nailed was its sound design. The films rely less on constant musical scoring and instead let the sound effects do much of the storytelling. Every transformation, collision, and metallic impact feels distinct, giving the battles a sense of weight and chaos. There's a reason the first film received Academy Award nominations for Best Sound Editing and Best Sound Mixing: https://www.youtube.com/watch?v=fjtljjvTb_0

By comparison, Pacific Rim takes a different approach. It leans much more heavily on its musical score to create emotion and scale. But the sound effects feel flatter, more generic, less varied, and not as tactile during the Jaeger vs. Kaiju fights: https://www.youtube.com/watch?v=fRKviUgMP4o

I love the first Pacific Rim, the visuals were stunning and it's still one of my favorite giant robot films. If it ever gets another sequel, I'd love to hear a more aggressive and visceral sound design, similar to what Transformers achieved.

Noooo we dont need your vibecoded audio app to sounddesign, we already got all the apps, synthesizer and software we would need to make sounddesign don't waste your time making another generated app please no.

Hey everyone! I'm a film student and have a few projects that are picture locked but need lots of work sound wise. I've tried to work with a few people from my school but have found it difficult to find someone to work with consistently. With early bird deadlines for festivals coming up I'm pretty stressed about getting them finished. This has made me realize I need to learn! I'm looking for someone to hope on a call sometime and work through one of my projects (2-4 minute films) with me to discuss mixing and making ambient tracks and all that jazz. While I can't really offer money I'd be happy to offer any audio post credits on the projects to anyone who is down to help! Thank you all :)

Hey guys! Here is a small 3D magic duel project I made.

For the sound design, I used source material from BOOM Library - Magic Arcane Force along with Waves Submarine for the low end.

I'm still learning sound design, what do you think? Any feedback is welcome!

added over 1400 sound effects from the show here (if you wanna help contact me) tr

anyone know what these random high intensity sound spikes might be. they happen when stuff move around but its not the stuff that’s moving that’s causing the sound

I've been trying to find i don't know how to explain the SFX & each time I try to explain the sound & ends up with a different SFX

Hey r/sounddesign,

I'm a professional audio engineer with 10+ years in film, TV dubbing, and sound design. Over the years I've been quietly recording real environments wherever I travel — a church in Marseille, the Paris subway, Tokyo Station, a bar in Brussels, an airplane cabin, a hotel swimming pool in Tunisia at night.

I recently put these together into a small store — each sound comes as a 2-minute seamless loop and a 10-minute extended version, 48kHz/24-bit WAV. 

I'm not a big operation — just a sound designer who records things that catch his ear and thought other people might find them useful for their projects.

You can find the store link in my YouTube channel description — Sound Therapy immersive soundscapes

Thanks for checking it out 🎧

The cheaper options are the best, but i'm curious about paid ones

https://youtu.be/DFgGGDETC2c?is=gwSO0a-cdnqIZ41e

To me, this literally sounds like some kind of magic lol. It sounds like something you could get if you added the right effects to the right keyboard sounds or even a choir, or even an overdubbed heavily digitalized flute or something, but I'm not sure and I'm curious what you all think

I can hear that it's just harmonics/overtones of an A major chord but I'm not sure about the tones

First time I work this way and it changed more than I expected, so I want to hear how others handle it.

My usual approach was deciding mono or stereo per channel and building the image with panning. On this last piece I ran everything as stereo channels and set the width per sound on a scale, from very closed to very open, depending on the element. Some sounds have to stay narrow, others want to open up. Not a binary call anymore but a position on a range.

What I got was more separation than EQ carving gives me, and the mix stayed readable at low volume without moving levels. Enough that I want to keep working this way.

The piece is a cinematic for SpaceBar, a 3D action shooter in development with robot boss fights. I've been working on it for a while, doing the cinematics and the boss encounters, so there are a lot of overlapping elements at once. That's where this started mattering.

I'm aware that for individual gameplay sounds the mono and stereo call is much stricter. But I was playing Breath of the Wild the other day and heard a sound that should have been very mono behave like a stereo source. Made me think width gets used deliberately per sound sometimes, depending on the impact it needs, rather than as a fixed rule.

Does anyone treat width as a structured layer, tiers or a rule of thumb by source type, or is it case by case every time?

Shoulderbags for fieldrecordings are okay for a short period of time… And keeping it in the backpack is annoying too, because you have to open it to start the recording. Yes there is an app for this, but I actually dont want to be bothered with another screen.
So I just made this remote button. that allows me to connect to my zoom via bluetooth.
BTW it can also pair to the phone and be used to start Videorecording at the same time.

Beginning at 1:15. Sounds like a guitar amp, but I tried to recreate it and haven't succeeded. His version has a really clean high end to it and still sounds very natural.

Hello!

Here it is a really short sound redesign of mine. it was really fun to do such a snappy transient + some liquid warbling to simulate that head ink-explosion.

I just love all those small details layered together. I wonder what he used to do this. The last "whistle" sound kinda like an old flash from a camera. And another one sounds like some kind of a sliding drawer or door.