SOUNDHACK SPECTRAL MORPHING FULL
SOUNDHACK SPECTRAL MORPHING PORTABLE
SOUNDHACK SPECTRAL MORPHING SERIES

There you have it, a proper Silent Hill factory bang. (I used Logics Space Designer with a 'Prison Main Floor' impulse response). > Record this and open it what ever production system you choose. > Ensure you get a nice gong sound with plenty of resonance. > Holding the pan by the handle bang the side with a thick plastic object (I used the handle of a ladel). King Capitol Punishment Glamour Box (all-analog dual-oscillator synth)īreaka wrote:I was just working on the sound track for a short film and tried the the following and it sounded so Silent Hill, it scared me. Ibanez SM-7 Smash Box Distortion (w/ noise gate)ĭanelectro French Toast Fuzz (1 octave up)ĭigitech X-Series Synth Wah (envelope, synth)Īlesis Philtre (lowpass, highpass, bandpass, band stop w/ triangle, sample/hold, triggers, envelope, patterns, and tempo sync) I have had outstanding results with nothing more than a fuzzy, buzzing, faulty microphone, a looper and plenty of volume.īehringer XENYX 802 Mixer (8 inputs, 2 buses)Ĭheap-ass $1 karaoke microphone (thrift store!) This isn't always 100% necessary, though.

SOUNDHACK SPECTRAL MORPHING PORTABLE

I have all of this running into a small portable mixer for panning, EQ and volume-adjustment purposes.

SOUNDHACK SPECTRAL MORPHING FULL

Use multiple sound sources! At any given time I'm using a few microphones, a synth (King Capitol Punishment Glamour Box), and a box full of effects. Try a noise gate to get sudden stop/start sounds for tense, startling moments. Pedals tend to behave unpredictably in feedback loops, so take notes of knob positions! Distortions, modulation, and high/low pass filters (I use an Alesis Philtre) seem to work out best in creating drones, walls of sound, screeches and other strange sounds. Manipulate feedback (both 'external' from a microphone, and 'internal' from a mixer in/out loop) with pedal effects. This, in combination with creative addition of lowpassing and reverb is great for creating low-volume bass drones to 'pad out' a track. Record and further manipulate those drones with more effects, and so on and so on until you have a slowly-changing wall of sound. Experiment with filtering, looping, and layering in order to create bizarre drones. I've used everything from forks, knives, electric razors, broken glass and even stuff as simple as my fingertips or cotton swabs. I'll usually run the mic through various pedal effects - most often stuff like delay (I use a Boss DD-20 for on-the-fly looping and layering), reverb and a little bit of overdrive - and attach it to some sort of object and then manipulate the surface of the object with various tools to get a range of bangs, clangs, buzzes or whatever. I ripped the piezo out of an old pair of headphones and wired it up to a 1/4' guitar jack. One of my most indispensable tools is my cheap-ass contact microphone. Take note that they might not work the exact same way for you as they do for me, as I work primarily with pedal effects and other hardware: Here are some methods and tips that I use.

SOUNDHACK SPECTRAL MORPHING SERIES

I love fooling around with ambient music, and playing the Silent Hill series re-kindled my interest in making 'music' of my own. There are a lot of great ideas in this thread!

Soundhack spectral morphing