My man where can we support you financially? I don't see a Patreon link and this content is perfect for Patreon. Most of the viewers are people like me who want to learn more and would be glad to support. You're doing a good work, it takes time to edit these videos
Haha I really do appreciate the gesture. I do have an SFX shop on my store as well as a Kickstarter where we are recording 119 Gun SFX for you guys if you are interested in supporting these projects you'll be helping make some more content for the channel as well as get some awesome FXs. There will be lots of SFX libraries coming soon =^.^= Kickstarter Link: www.kickstarter.com/projects/ultimateweaponsfx/master-gun-sound-effect-library-117-guns?ref=discovery&term=gun%20sfx Shop Link: aftertouchaudio.sellfy.store/products/
Great videos! I wish they were even longer. :) One thing I noticed is that all of your sound from Nuendo seems to be in mono. Will look forward to new content.
Do you mean longer in the length of the video or longer examples? Moat of the tracks I used were Mono as they are object tracks that you can pan around depending on where you are in the world. If you use all Stereo Tracks you are not able to place an object in a specific spot in the world. I only really use stereo tracks for generic ambient effects like wind, rain, roomtones, etc. Glad you enjoyed the content!
@@AftertouchAudio I mean the length of the videos. :) Enjoyed watching. Ah, I see. I thought that you were demonstrating the panning as you spoke and I couldn't hear it. Nevermind then!
Would something like AMBEO Orbit vst from Sennheiser be a good choice for designing stuff like this? It's free but powerful. If I'm understanding correctly, the further away the object is, the more reverb is needed for it, along with some low pass filtering. I still don't quite understand the use of delay for ambiences like this one. Maybe like if we're designing a canyon scene, and someone yells we're supposed to slap a bit of delay to it before reverb, or is something like convolution reverb with canyon IR enough? Lol I mean I will test and try all of this but I love to ask since you're really knowledgeable of these things.
It's called dearVR MICRO now and still free! I've tried it in a chain just before the convolution reverb and it's much more precise than standard left and right panning. Like, there is a huge difference. I'm not sure how it even works or what possible flaws could this have. I must say I've tested it with headphones for now, but it may be different with speakers.
@@AftertouchAudio I did some additional research, and it seems to be much more suitable for VR stuff where headphones are always used. It's amazing on headphones and better than regular panning but I think it has to do with the fact that your left ear can't hear the signal from the right ear piece, and vice versa. I doubt it would work so good with regular speakers
As we move further and further away from a noisy objects we hear less and less intimate details that the sound source is emitting but we also hear less and less high frequencies as they tend to get absorbed by objects around us. Low frequencies however are much harder to stop so you'll still hear the lower frequencies at a distance.
@@AftertouchAudio Thanks for the reply! No wonder I couldn't get it to sound right, I've been doing it wrong this whole time! Thanks for the info, that's really helpful.
Amazing video!! I feel like I got a college lesson on sound design. Thank you so much! Do you have any tips for doing sound design for scenes that take place indoors? I don't want the scenes to sound dead, but it doesn't make sense for there to be a bunch of wind
So typically speaking, my "indoor" roomtones are fairly dead sounding and I'll use the effects track to add things like birds through an open window or closed window, outside traffic, a clock ticking, distant sirens, sounds between rooms, etc. Whatever the scene calls for I usually use the FX track to spice up the "dead air".
Ambiances are really designed to sit under everything. For a show that is suppose to be mixed to -24 I usually have my BGs hovering around -55. Because of this it is important to have a fully flushed out BG Track from low to high because they will be this low in your mix and if you have holes in your BGs they tend to sound very thin. BGs should also not change volume when you are in a scene where Sound Effects can change volume as much as you like.
Very cool video! May i ask why you use Nuendo in particular? Is it good for synchronizing to video? I've been using Pro Tools for some bigger productions lately but i hate it with every fiber of my being.
Someone who shares my utter hatred for "Pro" Tools haha. I use Nuendo because of all of the features it offers for Post Production. The ADR Suite is eons above any other DAW. Game Audio Connect allows you to integrate your sounds directly into Wwise, Upgrades are affordable, Seamless integration with iZotope RX, None Destructive Editing with Audio Suite Plugins, Being able to have a control room, Monitoring Options, Dobie Atmos Mixing on a Stereo Set up, 360 plugin suites, the list goes on and on and on, and Nuendo also has a reconfirm feature where if your director changes the cut of the film on you it will automatically retime your sound effects to the new cut with an EDL list. Saves me HOURS! It also has a multitude of features like a cut detection tool, which will analyze the video for you and place cycle markers for all of the cuts in the videos. A very amazing export feature which can save hours of time, not to mention exporting sound effects with an in-depth naming scheme, and possibly my favorite feature of all time, The Control Room, which basically emulates an analog console, all within Nuendo. "Pro" Tools is still a necessary evil as everyone uses it, so collaboration with other Sound Designers makes it easier, but more often than not I work within Nuendo, export an AAF and import it into ProTool and send them the session that way. I hope that helps =^.^=
@@AftertouchAudio I think you just absolutely sold me on it! I've been using Ableton for sound design, Reaper for dealing with large quantities of files and Pro Tools for syncing to video but you can imagine the hastle all of that creates. I've lost a LOT of time resyncing my projects because of changes to the cut and that feature alone would be life-changing, and i've lost even more time because what can and cannot be undone in Pro Tools is absolutely not intuitive in any way, shape or form. Thanks for the answer!
@@listeningtogames9971 I still use Ableton Live because of the amazing way it integrates plugin chains. There is not a single DAW out there that does plugins like it (other than Bit Wig but it is made by the same people that made Ableton), but Nuendo is my main power horse. I promise once you switch you will see just how far behind ProTools is compared to Nuendo. Any questions about it just let me know =^.^=
Hi I bring new to sound design I notice You use stereo tracks for static not tie to and object and mono for all tied object could You explain more this I am using Logic and using 7.1 with dear reality VR Monitor for speaker setup virtually and dear VR Pro for specialization move sounds around in space how should I best use this 7.1 ,11.1 set through headphones of course Thanks
There are object tracks that are tied to specific objects in your environment and then there are sounds that are not (Static sounds). The static sounds provide a bed of noise for all of your objects to live in and it is important to fill all of the channels that you intend to use with this bed of noise. Take the Spiderman game for example. You'll have a general city roar for the entire city, but then you'll have object tracks for cars, horns, specific people, shops, etc.
A really good way to capture that kind of recording is to place your recorders into things like trees, corn fields, bushes, anything that will move with a gust of wind. You can also fake it, by getting a bunch of long grass and tieing it together and moving it within your fingers. Like This: facebook.com/TheGrassMovement/photos/a.430231357827701/430231311161039. Finding that magical spot to place your recorder is key. Take a recorder out with you wherever you go as you never know where you will find some useful sounds.
Amazing content! The attention to detail is absolutely necessary.
Thank you man, love your content.
My man where can we support you financially? I don't see a Patreon link and this content is perfect for Patreon. Most of the viewers are people like me who want to learn more and would be glad to support. You're doing a good work, it takes time to edit these videos
Haha I really do appreciate the gesture. I do have an SFX shop on my store as well as a Kickstarter where we are recording 119 Gun SFX for you guys if you are interested in supporting these projects you'll be helping make some more content for the channel as well as get some awesome FXs. There will be lots of SFX libraries coming soon =^.^=
Kickstarter Link:
www.kickstarter.com/projects/ultimateweaponsfx/master-gun-sound-effect-library-117-guns?ref=discovery&term=gun%20sfx
Shop Link:
aftertouchaudio.sellfy.store/products/
@@AftertouchAudio I've decided to pick up stormy winds to help me relax lol chipped in 20$. I would go for guns too but I only had funds on Paypal.
@@CyberwaveOrchestra All good, each weapon will be released as it's own library once the Kickstarter is finished =^.^= THANK YOU!
Great videos! I wish they were even longer. :) One thing I noticed is that all of your sound from Nuendo seems to be in mono. Will look forward to new content.
Do you mean longer in the length of the video or longer examples?
Moat of the tracks I used were Mono as they are object tracks that you can pan around depending on where you are in the world. If you use all Stereo Tracks you are not able to place an object in a specific spot in the world.
I only really use stereo tracks for generic ambient effects like wind, rain, roomtones, etc.
Glad you enjoyed the content!
@@AftertouchAudio I mean the length of the videos. :) Enjoyed watching.
Ah, I see. I thought that you were demonstrating the panning as you spoke and I couldn't hear it. Nevermind then!
@@darongol My next one should be longer =^.^= it is going to be one of my favorite topics!!!
aweeeesome omg!
super cool man!!!
Thanks man!
Would something like AMBEO Orbit vst from Sennheiser be a good choice for designing stuff like this? It's free but powerful. If I'm understanding correctly, the further away the object is, the more reverb is needed for it, along with some low pass filtering. I still don't quite understand the use of delay for ambiences like this one. Maybe like if we're designing a canyon scene, and someone yells we're supposed to slap a bit of delay to it before reverb, or is something like convolution reverb with canyon IR enough? Lol I mean I will test and try all of this but I love to ask since you're really knowledgeable of these things.
It's called dearVR MICRO now and still free! I've tried it in a chain just before the convolution reverb and it's much more precise than standard left and right panning. Like, there is a huge difference. I'm not sure how it even works or what possible flaws could this have. I must say I've tested it with headphones for now, but it may be different with speakers.
I will have to check that out as this is the first time I’m hearing of this plugin.
@@AftertouchAudio I did some additional research, and it seems to be much more suitable for VR stuff where headphones are always used. It's amazing on headphones and better than regular panning but I think it has to do with the fact that your left ear can't hear the signal from the right ear piece, and vice versa. I doubt it would work so good with regular speakers
@@CyberwaveOrchestra Interesting, I had wanted to make a Kontakt AMB plugin for a bit, I just need the content to do so.
Thank you so much. It's super helpful and educative. Thanks!
Hey A-51, I'm so glad you enjoyed the video =^.^=
@@AftertouchAudio I learn a lot with your videos. And they're very well done. The pace and the content are great 🙂 🥂
4:34 How come you took out the high end for that distant sound effect? Wouldn't you want to take out the low end? Or both?
As we move further and further away from a noisy objects we hear less and less intimate details that the sound source is emitting but we also hear less and less high frequencies as they tend to get absorbed by objects around us. Low frequencies however are much harder to stop so you'll still hear the lower frequencies at a distance.
@@AftertouchAudio Thanks for the reply! No wonder I couldn't get it to sound right, I've been doing it wrong this whole time!
Thanks for the info, that's really helpful.
interesting, thanks for sharing.
Thank you Patrick, working on the next video right now! Super excited about it =^.^=
informative, no doubt! keep it up!
Thank you Warped Biotic! More coming soon!
Amazing video!! I feel like I got a college lesson on sound design. Thank you so much! Do you have any tips for doing sound design for scenes that take place indoors? I don't want the scenes to sound dead, but it doesn't make sense for there to be a bunch of wind
So typically speaking, my "indoor" roomtones are fairly dead sounding and I'll use the effects track to add things like birds through an open window or closed window, outside traffic, a clock ticking, distant sirens, sounds between rooms, etc. Whatever the scene calls for I usually use the FX track to spice up the "dead air".
Sir I hope You do many more Listening Lessons as these are invaluable Thanks
Hey Bcraig, I just posted another video on ambiance designs that is much more indepth
Great content thanks for sharing. cool
Thank you Lanthe, I’m glad you enjoyed.
Great work!
Thank you Aaron!
Such a useful video! just wondering if there are too many ambiences, won't there be a problem like sounding too harsher than SFX?
Ambiances are really designed to sit under everything. For a show that is suppose to be mixed to -24 I usually have my BGs hovering around -55. Because of this it is important to have a fully flushed out BG Track from low to high because they will be this low in your mix and if you have holes in your BGs they tend to sound very thin. BGs should also not change volume when you are in a scene where Sound Effects can change volume as much as you like.
Very cool video! May i ask why you use Nuendo in particular? Is it good for synchronizing to video? I've been using Pro Tools for some bigger productions lately but i hate it with every fiber of my being.
Someone who shares my utter hatred for "Pro" Tools haha. I use Nuendo because of all of the features it offers for Post Production. The ADR Suite is eons above any other DAW. Game Audio Connect allows you to integrate your sounds directly into Wwise, Upgrades are affordable, Seamless integration with iZotope RX, None Destructive Editing with Audio Suite Plugins, Being able to have a control room, Monitoring Options, Dobie Atmos Mixing on a Stereo Set up, 360 plugin suites, the list goes on and on and on,
and Nuendo also has a reconfirm feature where if your director changes the cut of the film on you it will automatically retime your sound effects to the new cut with an EDL list. Saves me HOURS!
It also has a multitude of features like a cut detection tool, which will analyze the video for you and place cycle markers for all of the cuts in the videos. A very amazing export feature which can save hours of time, not to mention exporting sound effects with an in-depth naming scheme, and possibly my favorite feature of all time, The Control Room, which basically emulates an analog console, all within Nuendo.
"Pro" Tools is still a necessary evil as everyone uses it, so collaboration with other Sound Designers makes it easier, but more often than not I work within Nuendo, export an AAF and import it into ProTool and send them the session that way.
I hope that helps =^.^=
@@AftertouchAudio I think you just absolutely sold me on it! I've been using Ableton for sound design, Reaper for dealing with large quantities of files and Pro Tools for syncing to video but you can imagine the hastle all of that creates. I've lost a LOT of time resyncing my projects because of changes to the cut and that feature alone would be life-changing, and i've lost even more time because what can and cannot be undone in Pro Tools is absolutely not intuitive in any way, shape or form. Thanks for the answer!
@@listeningtogames9971 I still use Ableton Live because of the amazing way it integrates plugin chains. There is not a single DAW out there that does plugins like it (other than Bit Wig but it is made by the same people that made Ableton), but Nuendo is my main power horse. I promise once you switch you will see just how far behind ProTools is compared to Nuendo.
Any questions about it just let me know =^.^=
@@AftertouchAudio I'll excited to try it, but probably a bit down the line because it's anything but cheap. Thank you for the replies!
Hi I bring new to sound design I notice You use stereo tracks for static not tie to and object and mono for all tied object could You explain more this I am using Logic and using 7.1 with dear reality VR Monitor for speaker setup virtually and dear VR Pro for specialization move sounds around in space how should I best use this 7.1 ,11.1 set through headphones of course Thanks
There are object tracks that are tied to specific objects in your environment and then there are sounds that are not (Static sounds). The static sounds provide a bed of noise for all of your objects to live in and it is important to fill all of the channels that you intend to use with this bed of noise.
Take the Spiderman game for example. You'll have a general city roar for the entire city, but then you'll have object tracks for cars, horns, specific people, shops, etc.
How did you make the grass movement sound
A really good way to capture that kind of recording is to place your recorders into things like trees, corn fields, bushes, anything that will move with a gust of wind. You can also fake it, by getting a bunch of long grass and tieing it together and moving it within your fingers. Like This: facebook.com/TheGrassMovement/photos/a.430231357827701/430231311161039. Finding that magical spot to place your recorder is key. Take a recorder out with you wherever you go as you never know where you will find some useful sounds.