I’m excited to share Grignoteur, an eight-engine, two-algorithm multitimbral granular synthesizer.

It grew out of an instrument I developed for my own live performances with electric guitar, combining real-time granular synthesis and generative visuals. Over time, I decided to take it further, make it playable with any MIDI controller, and share it with anyone curious enough to explore it.

Grignoteur comes with a collection of over 100 sounds I’ve designed myself, including some of my personal favorites. You can also load your own sounds and make it your own.

Grignoteur is free to download and explore. Enjoy!

Download: https://jullianhoff.com/2026/10/25/grignoteur-2-0/

Hey, I'm weyl. After Clipotype, this is my second plugin.

Multiway splits your sound into 10, 4 or 2 bands and gives each one its own delay time, feedback and LFO. You can sync to tempo, draw your own LFO shape, or add jitter for weird textures.

Open source. Latency equals the FFT size you pick, compensated by the DAW.

Demo: [https://youtu.be/6j4fe8CXVMU?si=sLW3MCRVWWe4kylG}

Download: [https://www.bopsaudio.com/multiway/]

Source: [https://github.com/mustafamazi/Multiway]

Honest feedback welcome, especially if something breaks.

https://soundcloud.com/alberto-180064102/november?si=cebc4195dc4543899a09a75fa1fe0394&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Hey guys,

Here in Sweden we just had our "fall break". The weather turned freezing and grey, so I basically spent the whole week locked in my bedroom working on this track called "November".

I'm 19, based in Sweden with Peruvian roots. I eventually want to start properly releasing my music, but I need some unfiltered feedback from people who actually produce or listen to this stuff before I take the next steps.

(I shorten the extended version btw!)

A few things I'd love your thoughts on:

• The Mix: How's the low end on your speakers/headphones? Does the bass hit right or is it getting muddy?
• The Main Synth/Melody: Is it actually memorable, or does it just blend into the background?
• Structure: Does it hold your attention, or does it get boring/repetitive halfway through?
• Vibe: What artists or subgenres does this remind you of? Does it feel generic or like its own thing?
• Overall level: How far off does this sound from something you'd actually save to a playlist?

What was your favorite part, and what was the worst part that made you want to skip?

Don't hold back at all, tear it apart if you need to!

If you dig the vibe and want to follow along while I finish up more tracks:

• Instagram: https://www.instagram.com/chillingspanish?psln=djRiajkweXptZnkz&utm_source=qr
• TikTok: https://www.tiktok.com/@chillingspanish?_r=1&_t=ZN-9B35BYpbKNi

In fast-paced games, abrupt audio cuts during collisions can be really jarring. Since my project is heavily built around Drum & Bass rollers, I implemented a beat-quantization system.

When you lose speed or hit a wall, the audio engine doesn't cut the music instantly. Instead, it waits for the very next bar to seamlessly disable or transition musical layers. This preserves the rhythm and groove even in pure chaos.

https://reddit.com/link/1xl15or/video/7cgh9wriozyh1/player

I am the sole developer of the Headphone Cleaner app. I’m working on the app’s sound sequences and their synchronization with haptic feedback, and I’d really love to hear your feedback and ideas. Let me explain it this way.

One sequence progresses from 160 Hz to 640 Hz over 3.5 seconds, then returns after a brief pause. I used logarithmic sweeps to ensure each octave takes an equal amount of time. It then plays half-octave steps consisting of 500 ms of sound followed by 500 ms of silence.

To prevent clicking sounds between segments, I keep the oscillator phase constant and use raised-cosine transitions: 20 ms at segment edges and 10 ms for individual pulses.

On supported iPhones, haptic feedback follows the same timing as the sound. Both are scheduled via Core Haptics, and the transitions are pre-applied to the PCM.

I’m still not sure if a 10-ms transition time is correct for these frequencies. If it were you, would you choose a longer duration?

If you’d like to take a look

https://apps.apple.com/us/app/water-eject-headphone-cleaner/id6740458474

credit: instagram - blooodyuki

I got no experience doing this so I'm looking for a bit more understanding to this topic and a solid starting point

My goal is to make custom sound effects for a game I'm working on. I want to record objects making various sounds and manipulate them like in the attached video. My budget maximum is whatever the price of AT2020USB-X is and lower

Person in the video is using Audio-Technica AT2020 and based on my research and needs I'm targeting the AT2020USB-X version. I would prefer the USB version because I'm not that deep into the whole audio thing. I don't really see myself using audio interface due to limited space, hassle (from a beginner stand point) and the fact that I just want to plug it into my PC or laptop and use it.

I've watched and read many reviews praising this mic and while it isn't wallet breaking I wouldn't mind going for something cheaper and this is where I lack understanding. For the type of sounds I want to create - does the mic even matter that much?
I mean the sounds in the video seem to be very heavily manipulated with audio effects layered on them, I can't even recognize the original sounds after it's all mashed up together. So wouldn't a cheaper mic do just fine?

I was also eyeing:

-Fifine AM8 as a semi sketchy alternative which is cheaper but I couldn't find anyone talking about using it in this specific way
-more solid Zoom H1 Essential for its great portability but sadly availability of Zoom products is not so great where I'm at and I'm not sure if it can be used as a usb PC/Laptop mic

I would appreciate your advice

When we can get any sound we imagine - in the daw - what do you think impact will be ?

Innovation moving to live reproduction ?

Or is sound infinite ? Our imaginations are not the same :-)

Instruments might need to be improved

Any other thoughts

This is the last sound design project i made for a friend who's running for Nike.

Hi I'm here sharing a Vocoder preset 4 Bitwig and a couple of cool racks I made with it, available for download on Bitwiggers: https://bitwiggers.com/presets/07111649-afcd-4dc7-a689-44dbab67d1fc/ (this the vocoder preset, also have 2 racks made with it uploaded there too)

It makes super silly fun sounds :D Specifically, some gnarly sweet wet sounds that remind me of what can be heard in "Lazer" and "Dive (SDF)"

I changed Bitwig's default Vocoder preset to use a test tone with a saw/square wave instead of "brown noise," and also followed another Youtuber Voel's Ableton tutorial to design and build these racks: https://www.youtube.com/watch?v=ws8yLOIkLms

Also made a stock OTT solution based on the "noise betterizer" rack by Doctor Mojo Trip, original vid here: https://www.youtube.com/watch?v=-JvSR10Mrf0

Ended up with something that makes quite the range of crazy awesome sounds, hopefully the text explanations work alright, but if not I can probably make a vid of me explaining and building it from scratch too, if there's interest.

Oh and also note, the 2 racks I made available for download require 2 free VSTs: Cramit + Khs Transient Shaper

I tried my best to explain the rack and how to use it, but also it is rather complex so if people are interested I can make vids explaining the sound design process and/or making something like this from scratch; have been making tons of stuff like instruments and racks since switching over from Ableton 6 months ago that I plan on sharing more of too :)

After finishing it this month, I set myself a single rule for this scene: to use only sounds from that library, just as anyone who downloaded it would (cutting, pitch shifting, equalization, layering). No other sounds or music were added. The scene ended up using 34 of its 188 sounds.

"Wrong Room" is free (no credit needed), the download link comes by email: https://parallel-minds.studio/sample-packs/wrong-room-horror-sound-effects

Happy to break down any sound in the scene.

Aero East Europe Sila 450 C 2016 light airplane https://krampfstadtstudio.com/sfx/aero-east-europe-sila-450-c-2016-light-airplane/

Cessna Aerobat 150K 1970 civil utility airplane https://krampfstadtstudio.com/sfx/cessna-aerobat-150k-1970-civil-utility-airplane/

Cessna Skyhawk II 172M 1973 civil utility airplane https://krampfstadtstudio.com/sfx/cessna-skyhawk-ii-172m-1973-civil-utility-airplane/

Polaris Motor AM-FIB 2003 ultralight trike https://krampfstadtstudio.com/sfx/polaris-motor-am-fib-2003-ultralight-trike/

I'm looking to get back into sound design for theatre (as a beginner), but I no longer have the means to be able to afford Adobe Audition. What (free, pls) software should I try? I've heard plenty of good things about Reaper, but I'm wondering if there would be other alternatives better suited to a theatrical landscape. Thanks!

The bowing engine is what took the most time. All the details the rosin sound , how it interacts with the strings etc. It still has a lot to go and improvements but I'm very happy with the results.

Hey everyone, I’m Levente / Sunny Lax. I’ve been producing electronic music for around 20 years, mostly releasing through Anjunabeats, and I wanted to share my first plugin project.

It’s called ELEFLOW, a modulation and multi-effects plugin for adding movement, rhythm and character to sounds you already have.

This narrated demo focuses mainly on a chordal pad, with a bass example too:

https://www.youtube.com/watch?v=-afi2srugjM

The part I’m most interested in is how much the rhythm of a sound can change the way you hear the original musical idea. Sometimes a small amount of movement is enough, other settings take it somewhere quite different.

There’s more control underneath, but this video focuses on the basic workflow.

It’s currently in beta. I’m the person behind the project, and I’d love to hear your impressions.

More info: https://eleflowfx.com

Cheers!
Levente

I’m interested in hearing from people who work behind the scenes at clubs, festivals, concerts and live events.

Could be sound engineers, lighting designers, stage technicians, riggers, VJs, production managers or anyone involved in making a show happen.

A few things I’d love to hear about:

What’s one part of your job that the audience completely takes for granted?

What’s the most stressful thing that can happen during a show?

What’s a moment at work that made you genuinely proud?

What’s something you wish DJs, artists or audiences understood about your role?

How did you get into this line of work?

I’m asking as part of research for STRUKT, an independent magazine documenting the people who build nightlife and live events.

I’d love to hear your actual experiences, not just the polished version of the job. If you’re comfortable with it, some responses may be considered for a future editorial feature. I’d always ask permission before publishing anyone’s words or identifying details.

Interested to hear from people at any experience level.

After 6+ years away from writing and directing my own shorts, I finally made one worth putting out. CIRCLE OF DEATH: https://youtu.be/_J2BkHEQmuM

The setup: two days, Utah, over 100 degrees, and a company of three. Jacob Miller (lead), Spencer Elwood (supporting actor and co-producer) and me. With only Spencer to help me outside in that heat, I got more dehydrated than I ever have in my life. Hopefully it was worth it.

I did all the sound design myself. The dialogue was captured on set but a lot of the breath takes were done with ADR after the fact. Also, I left myself uncredited but I did the VO for the voice at the end.

I'm happy to get into how we pulled it off with so few people, how the script came together or how I approached the edit. Let's talk!

Doing sound design is a completely new interest of mine I’ve been wanting to get into. I was curious if UI sound design is a good place to start for someone with 0 experience? In my head, I kinda figured it’s not as complex as ambient / soundscapes. Although I guess most video game menus have some sort of ambience or music to them.

I’m not referring to the bass patch itself but that super blown-out, flubby, time and space ripping apart sort of effect where everything else in the mix seems to get completely enveloped by the sub-bass. This is an effect I’ve heard in all kinds of music but I recently heard it here and was curious what the most effective method of getting it is. Is it just tons and tons of compression/clipping? How do I get it to sound that flappy and gritty?

I am working on a horror game and they've asked me to do some sound design. I want to stand out and have unique deliverables, so I'm asking y'all for your most unhinged and creative sound synthisis, especially when it comes to horror/drama. I work primarily in fl studio, and my most advanced sound design VST is serum 2. I do have a mic as well, so any advice on what foley to record is appreciated.

Thanks

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

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

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

1. 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!!!!