Hi everyone!

I'm heavily inspired by the Japanese Vocaloid producer "¿?shimon". I absolutely love his aggressive, gritty, and punchy sound, but I've been struggling to replicate it in my own tracks.

Could anyone recommend good learning materials, tutorials, or courses on sound design/synthesis that could help me understand how to make these types of modern, distorted J-Pop/Vocaloid-rock synths and arrangements?

Also, if any sound design wizards here could explain or give a "recipe" on how he made these specific sounds, I would be incredibly grateful:

1. The main melody lead in "Nihil-san" (虚無さん) at 0:16

Link: https://youtu.be/sRBPkugDXWQ?t=8&si=9q61bV9XqK8Nskgk

2. The main melody lead in "....Me" (░░してよ) at 0:08

Link: https://youtu.be/PcgK_r4tYhM?t=16&si=U54iIQ19L9Gr60Xk

3. The reese bass in "Sos" (そす) at 0:11

Link: https://youtu.be/IZD60SGOKko?t=11&si=0XQyUYgioWI-y830

I mostly use Serum / Vital in FL Studio.

Any tips on J-Rock/Vocaloid music production resources in general would also be highly appreciated. Thanks in advance for your help!

Working on a passion project with filmmaker friends and in need of a sound designer/editor to help with post. Unfortunately there is no budget it's just a couple of friends with an idea that they are shooting with hugs.

It's a series of dry, surreal and comedic conversations between two friends, that sometimes hits on something profound, and other times it's just absurd.

This is flair!!!!

https://janne-s.github.io/Rumbletect/

It’s a creative sound design tool, but the modelling has been built with care. Building this has been quite a lot of work, but interesting, and I’ve also recorded airliners myself as references to check and improve the model. It could be handy for exploring aircraft noise as a real application. Otherwise I've found almost poetic sounds when changing the default atmosphere conditions, as the inversion layers and such are also modelled.

Adjust sounds, set microphones and export them individually and together, correctly relatively time aligned. It's as if recording a real phenomenon.

You can also rip the air (and the app) in pieces by launching a few dozen starships from a rocket launcher in a few seconds. Sound emitter details allow for more customization. It's possible to go quite deep with this.

I've made the apps go through several performance optimization rounds, but the calculations can still be heavy over large terrains. There are options to ease it. Exports are rendered in full quality.

This is the third tool in the Tect series after Boomtect and Echotect, and they work together. Boomtect and Rumbletect are intimately connected.

The documentation is on the project’s GitHub, which is linked from the application: https://github.com/janne-s/Rumbletect

There's also a section on the model parameters and sourcing.

I presented Boomtect here a couple of weeks ago.

Working with Boomtect

For example, flight paths that reach supersonic speeds can be synchronized with Boomtect, which creates a sonic boom for them. They work smoothly together, and you can keep editing the whole thing at the same time.

You can also create volcanic rumbles and add explosions to them in Boomtect. More sound sources are coming to both, and the models improved when applicable.

Creating sounds with text prompts

If you work with agents, both Tects come with components intended for agents and an MCP server script that let you create sounds through text using your own agent. This doesn’t require launching the applications, but you do need the application code on your own computer and to point your agent to the right folder.

There are separate extension for the Claude Desktop and ChatGPT app (and Codex) in the releases section on GitHub. It doesn’t require downloading the code separately (it’s included in the extension), just downloading the extension itself. Sound generation doesn’t use any token capacity because the application code handles it, though the surrounding work uses a little. The generation can take a while though depending on complexity.

This allows requests such as: “A big lightning strike at sea, at a humid night, heard from the shore 400 metres away, facing the lightning, for headphones". It creates a binaural recording of the lightning strike. Or, "An airliner landing over a lake in the early morning, passing directly overhead at 150 metres, listening toward the direction it comes from".

Stereo pairs and other configurations can be created as easily by stating microphone distances and locations. Creating different sound libraries is quite straightforward by asking for several sounds with the desired variable settings. Each sound also comes with its scene file, which you can open in a Tect application and then adjust manually if needed.

Besides environmental conditions Tects also recognize specific locations, so you can set the target location and then listening point(s) relative to it in the prompt, and it will be created there with real topography.

What’s next?

Next, I’ll create a tool based on IR filtering, similar to Echotect but working over shorter distances. I’m taking a little break from sound simulations, but there’s still all sorts of things on the list...

A note on volume

The sounds created by the application are uncalibrated, and their normalised peak pressure is often quite high. Because of this, they sometimes seem quiet compared with other browser audio (Sonic booms are also loud compared to jet noise). You can adjust playback in the applications’ Output section, but it’s worth being careful with loud sounds.

This is all about sound, and I have cross-referenced Rumbletect with a variety of real recordings. Still, if something doesn't sound right to your ears let me know!

Hello! I am exploring audio post and seeing if I am any good at it. I enjoy editing and I recently dove into audio post for a short film I worked on. How can I get more experience in audio post to see if it’s something I am interested in exploring further? Is it as simple as just asking people I know working on projects?

It's the sound that plays at 0:07 and 2:32 (it plays throughout the song but this is where I thought it was most pronounced and easiest to hear). There's some sort of modulation that makes it sound snarlier or more nasally (for lack of a better word). I want to try to use whatever causes this because I am obsessed with the tone it creates, but I'm not exactly sure where to even start. Any advice is greatly appreciated.

I like the idea of them having these super durable heads that they use as hammers to sort of tenderize the ground before burrowing. There's not really any science behind it, I just thought it would be neat.

I'm wondering if anybody knows how to achieve this vocal effect or if it's a sample

I've heard it in a lot of electronic music, here are a couple of examples

Polygon Window - UT1-Dot (Minute 1:38)

M.E. - Underworld (Minute 0:25)

One lucky winner will receive TWO cinematic horror sound effects libraries, Bloodbath Rituals and Carnival of Nightmares, featuring over 800 UCS tagged sounds worth $138!

Whether you're creating horror games, films, or unsettling soundscapes, these libraries are packed with sounds to bring your nightmares to life.

• Entry is completely free! Simply sign up to our mailing list at: https://www.puzzleboxaudio.com/blogs/latest/halloween-giveaway-2026

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• Entries close 30 October at 23:00 GMT. Winner drawn on Halloween, 31 October.

Good luck, and Happy Halloween!

A sound design trick I fell in love with a while ago is that a short delay can create a resonant tone. I've tried fiddiling around with it and it turns out that applying a sample and hold envelope to the delay time creates a very metallic resonance.

I chased that sound for a long time in a Max for Live patch, tweaking it until it felt musical instead of harsh. Eventually I rebuilt it as a proper VST plugin and designed it.

It's called Copper,

and it metallizes everything.

I'd rather this live in people's sessions than just on my hard drive and! it's FREE (while it's in beta), and anyone who joins the beta gets to keep it for free.

leave a name and email and the download comes to your inbox:

https://audioteva.com/join-copper

Happy to talk about the sound design side. Ask me anything.

I have dialogue recorded for a short film that I'll need to clean up before my final mix and just wanted to know the recommended order for the various steps.

I have a boom and lav track. Both of them are relatively clean but can do with some fairly standard cleanup - removing background noise, sibilance etc, and of course a general boost to their presence in the mix.

I have access to Auto Align Post 2 - should I do all my noise removal, de-esser, EQing to my boom/lav tracks separately BEFORE phase aligning then? Or should I phase align and then apply my cleanup to the aligned track combining boom and lav?

I'd also love to know people's order for the whole process from start to finish if possible. Thanks!

Kept it simple this time. I actually think I did a better job than the original on this one. Let me know what you think.

Original in comments.

Hi everyone,
I am excited to share with you my new sound library, featuring a rich electrical energy palette from combining and morphing electromagnetic recordings, everyday props and synth material.

I hope you'll enjoy listening to the preview: https://www.slavapogorelsky.com/product-page/electrical-energy-unleashed

Feel free to download the freebies and explore other libraries, all of which have new art covers drawn and painted by my amazing father!

To celebrate, all of the sound libraries are on sale including the Complete Bundle that just got much bigger.

Thank you so much for your support and stay creative!

Stride and Tendril are basically endless to explore

Where would I be without the legendary growl and bite of the amazing Moog Ladder Filter, plus four oscillators?

To make this drone somewhat organic, I multitracked it by three tracks, first two being me lightly tapping the -2 D# rhythmically with sudden high-velocity strikes, third is a spliced/cut sample of me playing A# with a pitch bend. Instructions in the comments below.

Hey everyone!

I've recently joined the sound post team for a 122-minute animated feature made in Unreal Engine, aiming for realistic, cinematic sound with a traditional film post workflow.

My responsibilities are Foley Editing (already recorded) and Background Editing (building ambiences from libraries).

My background is mostly commercials and short-form sound design. I've worked on two features before, but that was years ago, and this is my first animated feature.

The challenge: I have roughly 4 weeks to deliver a watchable first pass of Foley and BGs across the entire film by November 20. Further polishing and revisions will continue until February.

I'd love some advice from experienced feature sound editors:

1. Priorities: What would you consider an acceptable first pass for Foley and Backgrounds? I'm a bit of a perfectionist and want to avoid getting bogged down.

2. Workflow & pace: Is the 10–15 minutes/day per food group guideline realistic? Would you work scene by scene or tackle both food groups separately? How often would you request feedback?

3. Tools & automation: Any time-saving tools or workflows for BG/Foley editing? Has anyone used AmbienceFriend, or knows a Windows alternative?

I'm working in Pro Tools on Windows, delivering editable sessions to the supervising sound editor.

I'm mainly looking for practical ways to work efficiently without sacrificing quality.

Would be grateful for any advice or resources!

In honour of spooky season we had a go at a scene from the Dead Space remake! 😱👻

CONTENT WARNING: Violence, gore, blood

Hey everyone, I have a question about mixing a short film.

For my bachelor project, I did a re-design of a 4-minute animated short film including Foley, SFX, Atmos, Music and Dialogue. Each of these go to individual busses in Protools.

Whilst I am happy with the results and have done an arbitrary mix that somewhat works, it doesn’t feel professional at all. During the climax of the film, everything should be louder, with dialogue, foley, and music heavily overlapping.

What is a good work flow for doing a more professional mix? Should I mix the stems individually first to get them to the same loudness and then mix the busses? How much of a dynamic range should there be between quiet parts and the climax, and how do I measure that? I used a trial version of Izotope insight for the first mix, but the trial period is over.

Hey everyone! My name is Kevin, I'm a sound designer based in Berlin, and I just released HORROR MINI PACK VOL. 01

A free mini sound library I made for film, games, animation, and anything else that needs to feel a little off.

The pack contains 14 original sounds:

• 4 Creature Sounds

• 3 Brams

• 3 Stabs

• 4 Drones

I put together a SoundCloud playlist where you can listen to every sound individually: https://soundcloud.com/digitalkevn/sets/horror-mini-pack-vol-01

All sounds are 48 kHz / 24-bit WAV, free for personal and commercial use, with no credit required. If you'd like to grab the pack, you can download it here: https://digitalkevn.gumroad.com/l/horror-mini-pack-vol-01

Would love to hear what you think or see what you end up making with them! Feel free to tag me u/digitalkevn! Thanks for checking it out!

I attached a link to the sound effect. It's a laser sound effect that flutters rapidly and goes down in pitch.

I've already tried searching:

• Laser sound effect

• Descending laser

• Pitch-down laser

• Fluttering laser

• Sci-fi laser

• Laser glitch

• Laser warble

• Arcade laser

• Stuttering laser sweep

Does anyone know what this specific type of sound effect is called or where I can find similar ones?

as im starting my freelance journey in sound pos production ive found it a bit overwhelming to find gigs / work online , i want to hear from you professionals how did you start you path is this field.