Hey everyone,

First-time audio drama producer here, back with an update. I'm moving into production on my debut series, Molly & Her Fantasies: eight episodes, narrator-driven, a queer love story about two men who meet at a music festival. The script is done and the cast is coming together.

If you've already reached out, thank you. Please note you'll get a message from me shortly.

I'm still looking for a sound designer. A quick content note: it's a mature story with drug use, sexual content, and intimate scenes, and the sound is a big part of how those moments are told.

What the role is: the music is already handled through a licensed catalog, so no composing. The job is placing music so it serves the story, shaping it around the dialogue, and building the sound world between the music moments. I'll give you an emotional direction for each scene and trust you to find the sound.

For a sense of what I'm after: the club and music-led energy of Blade II, the subjective sound of Black Swan, and the quiet, aching restraint of Moonlight.

It's paid and fully remote. If you're interested, send me a DM with a few samples and a bit about your background. I'm happy to share two episodes and a rough narration track so you can see the work before we talk rates.

Thanks for reading.

I'm happy to pay you for it too, but it's non-commercial and i am just a guy. So i was thinking 100 bucks. feel free to DM me for details

I have a pair of Koss Porta Pros with the YAXI pads that I absolutely adore the sound of, and have written a track to work with their specific character and sound. Does anyone know how to make a mix sound like it is being played on a certain pair of headphones? Is it as simple as putting the reverse of the frequency response graph into an EQ? How do I get the right audio quality (or lack thereof)? Any tips (including "dont do this. why are you doing this?") are appreciated!

About 7 months ago I saw those videos where people wave their hands at a camera and the music reacts, all of them built in TouchDesigner. Then I opened TD, stared at the node graph for a while, and closed it.

So, being a C++ dev, I did the obviously more reasonable thing and spent months writing a plugin that does it inside Ableton instead. It tracks your hand through the PC webcam, and you can use it in two ways: play MIDI notes or map it to any effect parameter in any DAW.

Honestly, I started making this plugin for myself, but then decided I could publish it as Hand Link, there’s a free demo version and a full version right now..

So I’m curious, would something like this actually be interesting or useful? or you treat it more as tool for fun?

Hi everyone!
Together with my friend, I’m developing Sound-Pop Studio, a browser-based audio editor powered by my Pop Data Engine.

We’ve opened a free prototype for testing, and I’d love feedback from people who work with sound: what feels useful, what feels awkward, and what’s missing?

You can currently:

Import WAV files, multiple tracks, or a whole folder.

Edit individual channels and adjust track levels and panning.

Solo or mute both channels of a stereo track together.

Add drums, basses and tones from the built-in Sound Library.

Export your stereo mix.

Try it here: https://sound.pop-dataengine.com/editor

If you have five minutes, try making a short soundscape or layered effect with the included sounds, or bring some WAV files of your own. Adjust the mix and export it.

I’d especially like to know:

1. What was the first thing you wanted to do but couldn’t?
2. Which control or editing step felt confusing or wrong?
3. Did playback run smoothly? There’s a "Slow connection" option if needed.
4. What would make this useful enough for you to return to?

Demo supports 20 concurrent users, with independent projects and settings. Sessions last up to 30 minutes, end after 10 minutes of inactivity, and have a one-hour break afterwards. Projects stay saved on the server; keep your browser cookie to return to them.

You don’t need to write a detailed review, even “I tried doing "?" and got stuck here” would help us improve.

EDIT:
And for the real testers, there is always possibility to get no usage limit to really test the engine. Just send me a message and we will work out the rest.

Thanks for giving it a try!

Second go at learning sound design for an animation I am working on by redesigning the sound from animation scenes I like.

On my first post I received feedback about not having soundscape and there being a lot of empty space. So for this I picked a shorter clip and added a lot more sound . I also tried to align the "vibes" of the sound to the cyberpunk vibe of the animation.

Let me know what you think. Original clip in comments.

Some months ago I posted here about the “missing middle” between Max/MSP, Reason and Ableton. A lot of you gave me useful feedback, and the biggest practical barrier was “I’d have to download and install it first.” So I’ve put it in the browser:

https://workbench.sigilaud.io

It’s the same modular synth canvas and DAW as the desktop build. You patch devices together on an infinite canvas, wire them, and tweak. Open the link and start patching.

What to expect

• Best on desktop, okay on tablet, rough on phone.
• Simple to medium patches work well. Browsers give audio, UI and rendering one thread to share, so heavy patches will run out of headroom sooner than the desktop version. The desktop build remains the “serious” one.
• Latency is a tradeoff. Instead of a buffer-size dropdown, the web version has three latency profiles, roughly 80 and 150ms of cushion. If you hear crackle, step up a profile. Lower is more responsive but more fragile. I’d rather give you a safe, clean sound than a twitchy one.
• LOD optimizations of UI. Zooming far away will simplify the rendering to favor the audio rendering, since showing a busy patch all at once compete with the audio (only on the Web version, the desktop uses a dedicated audio thread and latency can go as low as 2ms).

What I’d love feedback on

1. Does it make sound reliably on your machine and browser? Please tell me your browser, OS and which latency profile worked.
2. Where does it crackle or glitch, and with what kind of patch?
3. Is the canvas workflow intuitive for people used to Max, Reason or a DAW, or do you get lost?
4. What would make you actually reach for this over what you use now?

The desktop version is in Steam and itch.io, but the browser build is meant to be a real way to try it, not a teaser. It has like 90% of the features and devices that the desktop version have. Thanks to everyone who commented last time. Your feedback shaped a lot of this.

Hey everyone. Just curious where folks are getting their video clips for sound design these days.

I used a couple clips from The Cue Tube for my social media and portfolio but I'm struggling to find some more high quality stuff to work on.

If you guys know of any solid resources, I'd really appreciate it. Cheers!

This a very specific request, so if it doesn't speak to you please don't be offended. Im looking for someone who can take the raw audio from a found footage thriller/horror film and mix it together so that it sounds very similar to the original blair witch project. (think making it sound properly mixed but at the same time entirely diagetic and raw, clean dialogue and audio, but as if it was from a found iphone recording). this is an indie film, it will be paid but a small amount. the plus side, you will receive credit, exposure, and the opportunity to be the sole sound designer/editor of the film.

It’s a free and open-source creative 3D sound-design tool for building thunder, blasts and sonic booms from physics and hearing how air, terrain and distance shape them. Literally sound design. Detailed sound and spatial settings let you tinker your lightnings to absolute perfection.

https://janne-s.github.io/Boomtect/

Place sound sources and virtual microphones freely across terrain (there's a map and topographic functions) and at different heights. Listen in mono, stereo, binaural or Ambisonics, and orient a binaural microphone however you like.

https://reddit.com/link/1x6u7l3/video/qvv3ssjgfovh1/player

What could several meteoroids entering Earth’s atmosphere sound like? Boomtect lets you try it and fine-tune each source. Think of a chance to record a thunderstorm in the middle of it, up in the air; or a bombing run. Full-quality renders can be demanding, so there’s a faster preview mode while you work. Export renders the sound again at full quality. Different mics can be exported separately.

Boomtect can also pass a sound directly to Echotect with its location, microphone position and arrival direction. There, you can place it in a more detailed echo field at any location you choose. Beware that complex echo field calculations can be quite heavy with longer sounds (but they do sound great!).

https://reddit.com/link/1x6u7l3/video/qkogonblfovh1/player

Development continues, with more sound sources planned. I didn't originally plan for this but maybe a more complete tect-series is coming up. I'm probably trying to tackle rumble next while working on booms.

I'm doing these out of personal interest, but maybe there's general interest too? In any case, I will continue sharing my creations.

I’m releasing SLTune, a free pitch-correction plug-in for monophonic vocals.

It handles gradual correction and hard tuning, with custom note sets, MIDI targets and an adjustable A4 reference (420–480 Hz). Formant shifting covers ±24 semitones, with a separate mix control and switchable tune/formant processing order.

Two LFOs provide tempo-synced modulation, including dotted and triplet rates. The second can switch to an envelope follower for voice-driven pitch and timbre changes.

LIVE reports 2 ms of plug-in latency at 48 kHz. HIGH uses 64 ms for cleaner formant processing; extreme shifts in LIVE can still produce artifacts. Interface and buffer latency are additional.

Available as AU for Apple Silicon Macs and VST3 for Windows x64 with English manual.

Images: https://imgur.com/a/kvJd9Qk

Download: https://www.dropbox.com/scl/fo/9xr8s129oytqi9oonlnme/ABJlQzAkOKCuLcSeouUGP1I?rlkey=kv2e1v34los4iuw89f4mt0g10&dl=0

Hi all,

I'm searching for the clicking sound during this scene when the pathologist/mc is zooming in on the bone, at around 1:32. Does anyone know something similar?

https://www.youtube.com/watch?v=3Eh1wsSSdTM

Additionally, the noise Jared Leto's little eye robots make, but I cant find any clips of them.

Hi there I just graduated from Film school a couple months ago and everywhere I look it seems to be a dead end for entry level work. I feel like I was never prepared enough for this market despite desperately trying to reach in. My ProTools knowledge is basic. I've researched small post production houses, tried connecting to people on LinkedIn and Backstage, but it seems that my dreams of coming close to the foley-sound world is minimal to none.

How have people navigated stepping into this industry as a fresh graduate with only the basics and no connections? Could really use a helping hand. Thank you.

Super excited to share my latest sound design placements.

I had the chance to bring some of my signature SFX into these awesome campaigns.

The Exorcist: Martyrs
https://www.youtube.com/watch?v=iIEYfH-jg1Y

This one is honestly a dream come true for me. Being involved in something connected to The Exorcist is just surreal. Can't wait to see it in theatre!

RIVER
https://www.youtube.com/watch?v=ox8lEnsxDag

For this one, my signature alarm sound kicks in halfway through and runs all the way to the end!

Which one is your favorite?

Alessandro Romeo
Founder | Lead Sound Designer 

https://www.horrorsound.org/

https://www.instagram.com/horrorsoundfx/

Convolution has been used for reverbs and amp IRs for twenty years. Overlay uses the same math for something else: any audio file becomes an impulse response, and its character gets printed onto your sound. A chord, a cymbal, a cassette hiss, a field recording, another kick.

Different parts of your signal excite different parts of the sample, so the result follows the dynamics and groove of your source. It's not a sampler and it doesn't trigger anything. Think photo filter, not layering.

**What you can do with it**

- **Drum overlay:** add the character of a punchy kick to a weak one, with no thresholds or triggering. "It's not drum replacement, it's drum overlay."

- **Creative reverb:** short IRs, tail control, filters and tempo-synced pre-delay

- **Moving pads and textures:** up to 4 layers blended on an animated XY pad

- **Sound design:** run hi-hats, shakers or anything else through textures nobody has heard before

Also includes a modulation panel (LFOs, envelopes, random generators, sequencers), Mix/Send modes, Gate & Duck, and 650+ sounds and presets. You can also load your own files.

** Watch Fab Dupont's full 17-min walkthrough: https://www.youtube.com/playlist?list=PLQuCx_79T6vo **

VST3 / AU / AAX, macOS and Windows. $149 lifetime license, **30-day free trial, no credit card.**

👉 https://process.audio/en/products/overlay

Happy to answer any questions in the comments.

Hi everyone!

As part of my bachelor’s thesis, I am developing a prototype of a double-tracking plug-in for music production. The plug-in is being iteratively improved through several development and evaluation rounds. For the current evaluation round, I am looking for people with experience in music production – whether as a hobby or professionally – to take part in an online listening test.

You can voluntarily provide an email address at the end of the survey. As a thank-you, I will send the developed prototype to you after I have completed my bachelor’s thesis. It is a VST3 plug-in developed and tested for a specific version of the DAW Reaper. It may also work with other DAWs, but this cannot be guaranteed. It might be interesting to experiment with for sound design purposes.

Headphones are required for the listening test. Participation is anonymous, and the survey takes approximately 10 minutes to complete.

I would greatly appreciate your participation! Thanks.

https://www.soscisurvey.de/552123/

I have been working on a sample finder for a couple of months, and this is a small part I'm proud of. You can draw the sample like you would see it in an EQ, and then see all the sounds you have that match the spectrum.

Wondering if there are ideas how I can record signals from my body and turn into sound.

Can use heartbeat for bmp - drums from my tummy etc. what type of mic is best ?

Not sure if we can capture signals from blood without sending it off

Has anyone done this or is sonification of signals only way ?

Was messing around with a sample and accidentally made this, and I like it so much that I put it in beat. Does anyone know the name of what kind of sound this is? Wanna find similar ones to use in music

the sound
https://audio.com/jimmy-toe/audio/unknown-sound

the og sample (for anyone curious)
https://audio.com/jimmy-toe/audio/sample

How do you add comedic elements to regular sounds such as a gun reloading?

I’m sorry if this is an obvious question, I’m so new to everything when it comes to freelance work. I just want to learn and hear from people.

I’ve been applying for and working on entry level freelance sound design jobs. But something I’ve notice is that a huge amount of them are advertised as “musical composer + sound designer”. Meaning they want someone to just do both for their project. Are you guys who are sound designer first (not musical people who do sound design as a secondary thing) having to learn and study music theory in order to get work? Is it not possible to just do sounds without being a music composer? I’m not talking about learning musical elements so you can make a cool sound with a keyboard or something. I mean full on composing an entire soundtrack.

Or are these entry level jobs just run by people who want a music composer but can’t be bothered to get another guy to do the sound design? They assume that people who make music must also automatically be good with sound effects and foley design?

I really like learning music but I’m definitely way better at sound design than music scoring. I can make beats and use musical elements in my sound design but I’m definitely not good enough to make a complex full on soundtrack yet, you know?

i am a graphic designer with a passion for storytelling and have been getting into film lately. as a beginner i would love to know your feedback on how this could have been enhanced through better sound and any advice you guys have! thank you