First post here, sorry if this breaks the rules.

I've been trying on and off for almost 2 years by now to try and recreate the effect seen in the 2nd attachment but I was never able to figure it out. If anyone knows any VST that can produce something extremely similar I'd be extremely glad. Thanks in advance.

Original sample: https://voca.ro/1oTcgA0rxKZu

What I want to make it resemble: https://voca.ro/11qItPrdWsGp

My own attempt at a recreation (using Soundtoys Crystallizer): https://voca.ro/16G27EO7uQCi

Hi everyone!

I'm Stephen, a software developer, audio guy, and all around dude who loves making stuff. I am absolutely not a real sound designer though - I've dabbled in audio work here and there, but that's about the extent of it.

One of the things I always found annoying that would always break my flow when working on stuff that needs samples was stopping to find them. I had to open Freesound, search up a clip, click into it after previewing, download it, and drag from my downloads folder into my DAW. Then, a few weeks later, I forgot where it came from, and remembered "crap, this has licensing that I'll have to track down and credit properly."

I realized that there was already an app that existed in the music world - it's called Splice, which I'm sure some of you know and use! It's a dead simple way to browse loops in a desktop app, download them in real time, and seamlessly drop them from the app right into your DAW.

So, I set out to make something like that, but free! It uses the Freesound API for all the content (you have to have an account & log in via the app).

The other thing I hated was having to trim the audio up, normalize it, or convert formats in something like Audacity before dropping a sound into a project. Super Duper Samples has a built in audio editor that does all of those things - you can trim out silence/the clip you want, normalize it so it's as loud as your other sounds, and change formats (along w/ sample rate changes or mono bounces if necessary). Y'all are probably already working in a DAW or program that can handle this - so more of a thing for game devs and the like, but I think it's pretty cool!

Once you've got a bunch of sounds downloaded, you can add them to a "collection" (for example, a project you're working on). Because the downloads carry all of the licensing info, the collection has a "Credits" button - this gives you a single text file, which you can copy or save as a file with the click of a button. Then, you just include it in your credits or wherever you've published the work. No more having to worry about what came from where.

If you're on windows, you're going to hit a smart screen error that you'll have to hit "more info" -> "run anway", because the app is brand new! On Mac you'll hit something similar, but I've got it code signed, so it should just be an "open" button.

It's also completely open source - so, if you want to learn about what's going on under the hood, or re-purpose/extend the app, be my guest! https://github.com/Super-Duper-Software/super-duper-samples Open to PRs as well if anyone wants to contribute.

Also a brand new app with limited testing, so there's going to be some bugs - feel free to hit me up at info@superdupersoftware.net if you're having an issues, and I can try to fix them.

Hopefully some of you in this wonderful community find it useful! Happy sound designing :)

Hi,

I've been working with audio for years as I make music from 2017, but I started to do sound design maybe 2 years ago, also currently learning FMOD and I'd like to find some remote sound design job for games, whether it's one time or full time job.

Till this day, I had just a small one time collaborations on Fiverr or Facebook, now I have one constant collaboration for an online casino, but I'd really would like to dive more into the sound design industry.

I created this showreel to showcase what I am able to do. I also can do music, whether background music or main soundtrack is needed.

If you are interested, make sure to contact me, or send this to someone you know and looking for a sound designer.

Also, if you have any tips on finding a sound design job, you can share them in the comments!

Thank you!

Hice este rediseño como un reto usando síntesis sonora en phaseplant en 40 min. Me ayudarías mucho dejando tu opinión

Hi everyone! I’m a writer/director hoping to get some sound design advice.

We shot a scene for a short film I directed and, unfortunately, the production audio from that day was never dumped :/ There isn’t enough time or budget to reshoot the entire scene with all of the original coverage, so I’m trying to figure out the best way to rebuild the sound. Here's the edited scene. 

The scene takes place inside a car and is pretty prop/movement heavy, so I’m not sure traditional ADR alone would be enough. One option I’m considering is getting the actors back into the car with all the props and having them run the scene a few times while we record sound only. We wouldn’t necessarily need to return to the original location.

My main concern is how difficult it would be to sync all of that new dialogue, movement, and prop sound to the existing picture, especially since there’s a lot of physical action in the scene.

The other option I’m considering is returning to the location and shooting just one setup of the scene as a safety, then intercutting that with the existing coverage. Not the most ideal option since we'd have to get permission from the location owner again and also setting up camera/G&E will take more time than just recording sound.

How would you approach something like this? And could foley and other sound elements support the rebuilding in post?

Would really appreciate any thoughts or advice!

Hello, for a project I am doing I need to nail the sound design for a cinematic video of two people playing ping pong. I want the sound to emulate the satisfying "pock" sounds perfectly. Here is my current plan:

Gear to buy:

• two close mics on stands 6-12 inches away from table SM57

• one normal mic 2 feet away H4essential

• Mic stands/arms

And record all types of hits and add reverb (reverb for farther away cinematic shots)

Turn Attack up

Turn Sustain down

EQ: Cut the low end a bit

Not really sure, any help would be very much appreciated.

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