{"id":4624,"date":"2021-12-14T01:47:08","date_gmt":"2021-12-14T01:47:08","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=4624"},"modified":"2021-12-14T02:15:23","modified_gmt":"2021-12-14T02:15:23","slug":"designing-sounds-for-a-sci-fi-movie-2","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2021\/12\/14\/designing-sounds-for-a-sci-fi-movie-2\/","title":{"rendered":"Designing Sounds for a Sci-Fi Movie 2"},"content":{"rendered":"
\n \"\"<\/a>\n<\/div>\n

\"DSPSci-Fi_Blog_Header_Sale\"<\/a>\n<\/p>\n

In the first part<\/a> of this post, we used DSP Sci-Fi<\/a> to generate all the sounds needed for a futuristic city ambience and a computerized control room. In this part, we will go full throttle action, as our protagonist will teleport himself on the battlefield! But first, let\u2019s remind ourselves of the final video.<\/p>\n

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Teleportation<\/h2>\n

In the third sequence of the video, our character starts in a teleportation room. Four layers are generated for this scene. The main sound is unsurprisingly created with the Teleporter<\/strong> patch of the Mechanisms<\/em> category. But to add some low-end to the sound, we also use the Cockpit Interior<\/strong> patch, with a fast acceleration and all the beeps muted.<\/p>\n

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For the sound of the red vertical lasers, we use the High Beam<\/em> section of the Plasma Beam<\/strong> patch, set to a high frequency and a deep modulation. We want to have distinct starting and ending sounds to add more presence to the sound. The Shield<\/strong> patch from the Weapons<\/em> category is a good candidate for that as it provides activation and deactivation spark sounds which are very useful when simulating devices. In this case, we increase the Spark Decay<\/em> (for a smoother starting sound), as well as the Modulation Rate<\/em> and the Pitch<\/em> in the Shield<\/em> section to add more depth to the ending sweep.<\/p>\n

\"GameSynth
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The last layer is an ambience generated with the Crew Quarters<\/strong> patch, for which we simply muted the Oxygen Pump<\/em> and added a bit more modulation to the Ventilation<\/em>.<\/p>\n

\"GameSynth<\/a><\/p>\n

Battlefield<\/h2>\n

We teleported ourselves just in the middle of a battlefield. Needless to say, the Explosion<\/strong> patch from the Weapons<\/em> category is put to good use. By randomizing the Blast Filter<\/em>, Detonation Attack<\/em> and Sustain Freq<\/em> parameters, we can generate many variations. For the last explosion, which is farther away, we decrease the Detonation Amp<\/em> and increase the Distance<\/em> parameters.<\/p>\n

\"GameSynth<\/a><\/p>\n

As for the weapons, you will notice that they all have different firing rates. After setting that specific rate in the Blaster<\/strong> patch for each of them, we assigned random ranges to every parameter in the Energy<\/em> section, and then generated several variations. We simply picked the most interesting one afterwards. This is an amazingly fast method to find a good sound for your project.<\/p>\n

\"GameSynth<\/a><\/p>\n

An ambience based on the Planet Biome<\/strong> patch, this time using only the Lava<\/em> section (with lowered\u00a0 Tone<\/em> parameters for the Magma<\/em> and Bubbles<\/em>) completes the battlefield soundscape.<\/p>\n

\"GameSynth<\/a><\/p>\n

\"GameSynth<\/a><\/p>\n

Spaceship Landing<\/h2>\n

The video ends with the landing of an imposing spaceship. The Jet Propulsion Power<\/em> and Landing Gear<\/em> parameters of the Landing<\/strong> patch (from the Vehicles<\/em> category) are set to their maximum values for full effect. To add more low-end, we use the Cockpit Interior<\/strong> patch again, but this time with a deceleration that matches the timing of the landing. Finally, when the spaceship hits the ground, we create a low-pitched impact of type Hard<\/em> with the Metal Impact<\/strong> patch.<\/p>\n

\"GameSynth<\/a><\/p>\n

The spaceship is equipped with moving reactors that stabilize its descent.\u00a0 To design their sound, we first generated a lot of variations using the Servo Motor<\/strong> patch, which is especially useful for all types of mechanical movements. All parameters were slightly randomized, while keeping the duration relatively short, between 1 and 2 seconds. Then, we sequenced the best takes to match the animation of the reactors, and we lowered their volume in the mix so that they blend well with the engine sound.<\/p>\n

\"GameSynth<\/a><\/p>\n

To conclude, we used the Planet Biome<\/strong> patch once again for the ambiance layer. This time, both the Lava<\/em> section – without the Bubbles<\/em> – and the Wind<\/em> section were put to contribution.<\/p>\n

\"GameSynth<\/a><\/p>\n

\"GameSynth<\/a><\/p>\n

And voil\u00e0! By combining the various patches offered by DSP Sci-Fi and adjusting their parameters to your needs, you can design the sounds of any type of sci-fi project!<\/p>\n

\"DSP<\/a><\/p>\n

<\/p>\n

\n\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In the first part of this post, we used DSP Sci-Fi to generate all the sounds needed for a futuristic city ambience and a<\/p>\n","protected":false},"author":1,"featured_media":4746,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[15,18,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4624"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=4624"}],"version-history":[{"count":10,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4624\/revisions"}],"predecessor-version":[{"id":4754,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4624\/revisions\/4754"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/4746"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=4624"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=4624"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=4624"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}