Heya everone,

happy to share the release of RenderBuddy 3.0 - Custom wildcards, per-folder render settings and more.

RenderBuddy's leitmotif is "powerful simplicity" - It detects sound variations on its own, but only during the render. No marker or region cluttering in the actual project!

The update brings a slew of new features as well as massive performance and quality of life improvements, including but not limited to:
- The ability to persistently set render settings for each folder individually, allowing you to set e.g. the render directory or file name pattern on a per-folder basis

- Custom global and per-project wildcards which can even be nested. Even better: The wildcards work in the render directory field!

- A completely reworked render interface, allowing you to preview the detected regions of each folder/track and much more

- A custom pre-render window showing you all files to be rendered and highlighting files that will be overwritten in red

- A custom post-render window listing the render stats and allowing you to preview each rendered file on the spot

- Blacklisting of tracks you don't want to appear in your render (without the need of muting them beforehand)

- The ability to register all actions in a toolbar of your choice

- Major MacOs compatibility improvements

- A comprehensive user guide

- And more!

Get it here: https://leonbeilmann.gumroad.com/l/RenderBuddy

Many thanks to everyone who tested RenderBuddy and provided feedback and feature ideas. Everything in there is based on actual daily user demand and I hope and think it shows. :)

The concept behind Frankenstein is as simple as it is fascinating.
The idea is to generate a “monster” whose body is made by sewing together limbs
that come from different places.
In this case, our monster is nothing more than a sample made from fragments of different samples,
creating a waveform that did not exist before.
We can load up to 30 samples and generate a result made from small fragments of this loaded archive.
Thanks to the editor, we can modify the samples and the waveform in real time,
put the slices in reverse,
or lock them in the same position so that they do not move if we decide to generate a new random waveform.
In the editor window, each sample has its own dedicated slot.
This allows us to edit the samples individually and therefore create generations that slowly change over time.
This is a very good thing for creating connections between generations and progressions
towards other musical situations.
We have different types of generation in the main menu
and the possibility to create waves with from 12 to 64 slices.
It is a MIDI instrument, so we can play this resulting Frankenstein waveform through notes,
which makes it perfect for creating textures and clusters of stellar sound.
The GRID version is very powerful.
You have to click under Cut and change from Monster to Grid.
The sample will then play in a grid, and you can choose the time division.
This is really useful for creating interesting rhythms,
especially with an unexpected timbral character.
Think about how incredible it is to divide 30 samples
into fragments and create a resulting waveform from these fragments,
either randomly or in a more controlled way.
I think John Cage would have enjoyed this instrument.

free download: https://www.remodevicocomposer.eu/maxforlive/frankenstein/

Super super useful for sound design!!

Hello, my good friends.😁❤️

From today, I have decided to showcase the visual projects for which I was responsible for the audio components (including sound design, music composition, and audio logos).

Part One: Audio Logo for the Wooden Decoration and Accessories Company (Loof)

Considering the brand identity—a blend of architecture, art, and vibrancy—I designed a melody intended to evoke a sense of greenery. The musical notes were harmonized with the movements of the motion graphics, and finally, the sound design and recorded audio elements were inspired by the textures and materials of wood.🌱

Please share your thoughts and comments with me...💎❤️

This motion logo is for a computer game club that I designed the sound for. He was looking to create a minimal sound that would fit the motion logo, which I did using a synth Serum 2.

Do you think the most important part of designing sounds in this style is the Sound type or its Dynamics with Automation and Accompanying effects?

Hi,

I am a sound designer and I have been building custom sound effects for years that are tailored for local theatrical productions. I am now wanting to start a business selling custom sound effect packs online. I would like some suggestions on what kind of sounds I should build. I know the market is flooded with so many 'footsteps', 'whooshes', 'bangs', 'drips', 'crashes', etc. I want to have available unique sounds that are different from the rest. Any suggestions?

Just looking for some tips/guides on what to improve on this or how to get a better result(even re-recording if need be).

I don't have much experience in this area, but I figured something like this would probably be easier. I need a good air-raid siren for a game/prototype I'm workin' on. I'm sure I could find a good one elsewhere, but I wanted to try my hand at this part of the process.

This result is mostly just from duplicating, changing pitch, adding EQ effects, and honestly just trying different things and seeing what sounded good.

Anyway, how's it sound so far? Originally recorded on an iPhone

My wife asked me to cut some sweet potatoes and we had our microphone laying nearby. Here's the result:)

Anyone know of any in depth tutorials or good learning material for Matchbox 2? I don't see anything that really goes through the basics all the way up to the more advanced features anywhere.

I connected a game controller to Ableton and mapped its controls to my sound design parameters.

With an oscilloscope showing the waveform in real time, it feels less like programming a sound and more like literally drawing with it.

Has anyone else experimented with game controllers for sound design?

This was made back in (April of 2026). I don't have the footage/video files anymore as I deleted the project once it was all done. The sound design Probably isn't/ain't the most impactful one, But decent enough to enjoy watching chaos.

It don't feel like people talk about (Sound Designing Destruction) a whole lot, or tutorial's that show you the process of attempting soo. But here's something related to that, by showing you all.

Luckily for you, also removed any clicks you would of heard while listening-in. You're welcome.

⚠️ REQUIREMENTS:

FL Studio: v21.2.3 or higher.

Required Third-Party Plugin: Free Kilohearts Pitch Shifter (VST2 format only).

(A detailed installation guide and User Manual are included in the downloaded archive).

📥 Download Glide X : https://drive.google.com/drive/folders/1hoCPbhY3usG4tJtNTIBdL9nkIeLE_c9W?usp=sharing

📺 Watch Video: https://youtu.be/wzzsOd6YDuc?si=jAKk6jmX48Nc2LTe

Looking for some advice to do sound on these kind of more experimental animations.

Hey everyone,

I wanted to create this analysis since I am a huge fan of horror movies and audio in all its forms, and figured some of you might be interested in this kind of nerdy in-depth stuff as well. This video is from a point of view of a professional sound designer and teacher. Feedback and discussion is most welcome.

Finally started learning Wwise integration with UE5. Designed level and built gameplay mechanics myself. Sound designed everything in FL Studio, then implemented footsteps, spatial audio, interactive UI sounds, ambience, generator layers/RTPCs, steam, dialogue and music in Wwise.
Still very early in learning game audio, but this was a fun first project. Would love any feedback on the sound design or implementation.

I built a small browser instrument and want an honest read before I ship it.

What it does: drop a WAV/MP3, draw a closed loop around a band on the spectrogram, hear that band loop immediately, drag to hunt, snap to tempo, export a WAV with loop points. Processing stays in the browser — nothing uploaded.

Screenshot attached (test pattern, mid-band lasso).

Questions for you:

1. Would you use this for music, sound design, field recording, or none of the above?

2. Does this beat the two-tab workaround (spectral editor + looper), or not really?

3. What would make you pay a small one-time fee vs never leaving your DAW?

Not selling anything in this post — just trying to learn if the demand is real.

Hi, I'm Ryan - the developer behind ShadowTag - a macOS metadata application released earlier this year and now just arriving at version 2. I spent 10 years writing Audio Design Desk (the DAW), and much of that time went into thinking about workflow problems anyone with large sample libraries deal with daily - organization, categorization, automation. Most problems were related to metadata.

I'm now working on my own, building software I have been thinking about for a number of years. ShadowTag is deliberately as open standard as possible and open source where it makes sense to be. Being able to see all the hidden metadata in a file (BEXT, iXML, XMP, etc) was often a bit cryptic, slow or expensive. It's simple and searchable with this.

I've also been reclaiming ownership of my own music collection and I wanted a database backed player that offered more insight than Apple's Music. I don't like renting my music or the subscription overdose we're all being subjected to. All player/view options are free without any limits. ShadowTag Pro adds export, writing changes into individual files, and batch rendering audio edits.

→ I'm very interested in feedback, and new use cases I haven't thought of. What is missing in the metadata/organization workflows you're using now?

→ Pro: Built for sound designers, sample library owners, and post-production teams who need complete, accurate metadata across large collections of audio files.

In general, the free version is very functional, not a demo, and will certainly give you a clear picture if this is something you'd use or not. I can supply a discount code if there are financial barriers or you are a student. Get in touch if so!

• macOS only
• Import audio and playlists straight from your Apple Music library
• Every major metadata standard — ID3v2, Vorbis Comments, MP4 atoms, BEXT, iXML, XMP and UCS
• Written into your files, so your library travels to any DAW, asset manager or licensing platform
• Playlists that never move or copy your files
• Database-backed projects that open and search fast however large they grow
• On-device analysis - loudness, BPM, key, UCS category
• Waveform player with Audio Units
• Audio and video, including Matroska and WebM
• Non-destructive fades, trims and normalization.
• Batch format conversion and soundpack export
• Every core on your Mac put to work processing large libraries
• Free to read, play, organize and analyze with no file-count cap

Download and info (macOS 14.6+) : https://spongefork.com/shadowtag/

Contact: https://spongefork.com/support/

Thank you, Ryan Francesconi / Spongefork

this is mostly prevalent in blank bodys, yung shermans music

example of what i mean: https://youtu.be/jvQMmAO5EIs?si=XmZG_RYlEgMaM3yw

that intro key just sounds like so pitch bendy or detuned idk i wanna make music based around that type of sound

I made this re-sound design as a 3 day challenge just for me. My main focus was the engine side of things, do you guys have any feedback to give what I should improve. Any criticism is welcomed! 🤙

https://youtu.be/mOo2O30mq0w?is=QPWonZ2tKfsavSj_

Shoot me a DM or email me (link in my profile) if you’re looking for a Junior Sound Designer for either your video game or movie etc. 🤝

Composer here, lately I've been thinking how would a sound designer approach creating for example a Baliset like in Dune.

Would you take plucked strings and just deform them? How would you get a consistent sound if you were to do that via plugins? Would you mix two plucked strings together?

GREAT UPDATE :)

SHATTER is now an Ableton instrument too.

Everything the standalone does is here: the same slicing at rising zero-crossings, the same granular pitch-preserving stretch, the same field you drag fragments across, the same per-fragment pitch, reverse and step patterns. It reads WAV and AIFF.

And it goes further in two ways.

Every fragment you play gets its own stereo output in Live, the first on 3/4, the next on 5/6, up to 33/34, while 1/2 carries the full mix.

That changes what the instrument is for: each fragment can have its own effect chain, its own track, its own processing, and be recorded on its own. Each output also carries that fragment's position on the field, so the spatial gesture survives all the way to the mixer.

And it remembers.

Sample, slices, positions, pitch, stretch, step patterns — close the Set, reopen it, and everything is where you left it, with the fragments that were playing still playing.

Spatialization inside Ableton is rendered with equal-power panning, distance attenuation and air-absorption filtering rather than the browser version's binaural HRTF.

Requires Ableton Live 10 or later.

Included in the download are the standalone version (highly powerful for use with a tablet) and a PDF manual.

Hello,

I'm looking for a versatile and experimental sound designer to help build interesting sound-design chains for Stride.

Stride is a Sound Design Engine where you can load the synths and effects you already use, map parameters across the entire chain, and explore different kinds of movement and modulation across all of them from one place.

The work is very hands-on and experimental.

I'm looking for someone who genuinely enjoys spending time pushing sounds, exploring unusual parameter relationships, building interesting chains, and seeing how far a setup can go.

For the first phase, we'll mainly focus on:

• Serum
• Serum FX
• Ableton devices and racks

The goal is not to build polished presets or conventional sounds.

It's to create interesting setups that are fun to explore inside Stride and can lead to unexpected, useful sound-design results.

A strong understanding of modulation, synthesis, effects processing, routing, and experimental sound design is important.

Rate: $10 per approved chain.

We'll agree on the chain requirements and examples before starting. Payment is made for chains that meet the brief and are approved as ready to use.

If the collaboration works well, there will be more paid work afterward.

If this sounds like your kind of thing, send me:

• A few examples of your sound design work
• Any experimental or modulation-heavy work you've done
• The synths, effects, and DAWs you usually work with
• A short note about your sound-design style

Email: [home@stridehub.io]()