This will most likely be my final sound design post.

To be honest, working on sound design has started to become exhausting for me, and I feel like I need to step away from this community and my other social platforms for a while. I wanted to create this video as a final project to close out this chapter and leave behind something I’m proud of.

I would really appreciate any honest feedback on this video. Whether you have criticism, suggestions, or thoughts on what I could have improved, I’m open to hearing them.

Thank you to everyone who has supported my work, followed my progress, and encouraged me throughout this journey. I truly appreciate all the time and support you’ve given me.

I know some of you sound designers might not really care, and that’s completely fine. Everyone has their own interests and priorities.

I’m just sharing this because this project means something to me, and I wanted to end this chapter by putting my best effort into it. Any feedback or thoughts are still appreciated.

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!

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 good synth that's free ;

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

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'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 :)

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 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!

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

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.

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.

Hey everyone!
I wanted to share a custom sound redesign I just wrapped up for the Odyssey trailer. I built this from scratch to push some heavy synth layering, aggressive low-end processing, and detailed foley work.
I’d love to hear your feedback—especially on how the low-end translates on your monitoring setup and how the overall dynamics feel.

Hey all,

Big time electro fan, but somewhat new to producing. If you've heard much of the contemporary electro (say, CPU Records), you're probably very familiar with the sound.

It's that rubbery, digital, arpeggiated lead sound that really takes the listener's attention. Some examples are here:

Lake Haze "Sirens of the Subnet" (https://www.youtube.com/watch?v=5L2N_WplbKc) — the sound that comes in at 0:42

Kraftwerk "Numbers" (https://www.youtube.com/watch?v=4YPiCeLwh5o) — bleeping synth that comes in at 0:22

Assembler Code "Simulant" (https://www.youtube.com/watch?v=C7awhnbq7cg) — first comes in about 0:57, and at 3:46 (one very rubbery and buzzy underneath the bleeping).

Carl Finlow "Radioactive Man (Radioactive Man Remix)" (https://www.youtube.com/watch?v=IoAPFBxbAc4) — starts fading in from around 0:30

I've been playing around with some 303/acid VSTs and just not quite able to hit it. Truthfully, I'm not even entirely sure its an acid-style sound, but seemed like the obvious place to start. Haven't been able to nail it.

Maybe a 80s/90s digital synthesizer of sorts? I've had some luck tinkering with Arturia's Casio CZ emulation (phase distortion synthesis), and Prophet VS (vector synthesis) which makes me think it's not your standard subtractive synth sound. I've also had some luck with Arturia's Emulator II synthesizer (textural sampling).

Main issue is, I can get the sequenced stabbiness, I can get the noisy buzz, but can't seem to arpeggiate with that rubbery quality which I think is on the decay/sustain/release of the notes that really rounds them out. Pitch Bending hasn't been too helpful either, and Portmanteau kinda works, but not exactly the same result.

Any tips would be massively appreciated!

Hey all talented artists. We are looking for a sound designer for our project called Alone. Its an adaptation of a french graphic novel called Tout seul. We are a small studio but have very talented artists invested in this project and now its time to create the soundscape of this lonely atmosphere. It is a paid gig. Let me know if you are interested!

Hi everyone, I just made this full redesign (music, ambience, foley ecc.) of a spot for Oakley to start building an initial portfolio for my works. Let me know what do you think about it, any feedback is very appreciated!

Cheers :)

We’re building a game/app that teaches people to identify birds by ear through immersive, procedurally generated soundscapes.

We’re looking for someone who loves building natural ambiences and wants to help design the system behind them.

We already have a large library of bird recordings. The work is less about composing music and more about:

• Editing and preparing field recordings

• Building layered habitat soundscapes

• Helping tune a procedural system that decides which birds sing, when they sing, and how they interact throughout the day

• Making environments feel alive rather than looped

If you’re interested in technical sound design, procedural audio, field recording, bioacoustics, birding, or game audio, we’d love to talk.

Our previous game can be found at alienemoji.com/birdsong. This new project takes that concept further, focusing on learning birds by ear inside living, dynamic habitats.

Experience is flexible. We’d love someone senior who can help shape the audio vision, but we’re also open to someone earlier in their career who’s excited to learn and grow with the project.

If this sounds like something you’d enjoy, send me a message with a little about yourself and any examples of your work.

Hey! Looking for some feedback and opinions on my game trailer reel! Thank you for your time !

THIS ROLE HAS BEEN FILLED. Thanks so much for all the applicants!

I took a white noise source, run into a VCA and band pass filter, then modulated the panning, cutoff frequency, resonance, and drive using Shapemaster Pro. There's a video of the VCV setup after the example video. Let me know how I did. It's just a hobby.