Sound Design Tutorial - Creating Punchy Transient Impacts
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- čas přidán 3. 07. 2024
- Quick tutorial on designing punchy transient sounds. Using this combination of serial transient shapers & clipping, you can turn most source content into a lean, mean transient-generating machine.
Email: anthonyturiengineer@gmail.com
Twitter/X: / turimakesmusic
Instagram: / anthonyturi
For those curious about the rainbow-colored sampler up top in my Reaper session, that’s Global Sampler. It’s a free sampler that’s always recording your DAW’s output so you can quickly grab bits and pieces of audio that you like and then toss them back into your session. You can place it on an individual track, on your Monitor FX chain or on your Master track in order to grab audio that’s processed through a signal chain of your liking. It’s a much faster alternative to routing through a print track and manually recording.
It can be downloaded for free here: forum.cockos.com/showthread.php?p=2506514
wtf this is so goated
Stumbled upon your channel today, thank you for sharing your process! As someone who's just starting on the transition into Reaper from PT, I would love to see a quick walkthrough of your setup + any tips for noobs
@@dubchung hey there, thanks for the kind words! I made the transition from PT -> Reaper as well, and it was definitely tough. It took me a really, really long time to get my actions setup to be as close to Pro Tools as I could get it.
If you’d like, I can email you my Reaper configuration file. If you’re not already familiar with how those config files work, you simply need to import it via the Reaper settings, and it should immediately assign your actions to be similar to mine, which will feel intuitive if you come from PT.
If you’re not already familiar with Noah Sitrin, I recommend checking out his channel! He has a video about his Reaper template setup, and mine is very much inspired by his :)
@@anthonyturi That'll be amazing actually! You're too kind! My email is dubchung@gmail.com. I immediately did notice similarities from Noah's setup, I was not aware he made a video of his template. Thanks Anthony! Keep up the good work.
Nice. Gonna give this a go now. Had no idea about Containers in FX chains either! Thanks
Awesome, I hope you're able to get some useful source content from it :) FX Containers are a gamechanger too!
Thanks for sharing your process! I LOVE global sampler! Truly an amazing tool
@@Iskra_Audio it’s the best! I often wonder how I worked without it in the past haha
Smart technique 🏄
@@Tokolovessound thanks so much!
apologies if this comes across as snarky, but i'm genuinely curious. if you want a transient sounding like a kick drum, why not simply make/use a kick drum?
@@henqification not snarky at all, it’s a valid question! You could totally just load up a kick drum sample and run it through a chain like this to accentuate the transient. That’s actually the approach I tend to use most of the time when I don’t want to split up the “transient” and the “punch” of the sound”.
The method in this video is just a surefire way of generating that same sort of layer out of just about any sound, assuming that you don’t have a library of good kick drum samples to pull from.
Also, I’ve found that sometimes, kick drums are too “rounded” out and not pointy/sharp/clicky enough to act as the initial transient of the sound. I tend to prefer using these layers at the very start of my SFX, and then layer on a smoother, more rounded out kick drum sound to act as the “punch”. Typically, that involves the transient being the first sound heard, and then the punch/kick drum layer being delayed by several samples. This creates a rhythmic impact that can sometimes read more clearly than if you just used one of these sounds to account for both the impact and the punch.
I hope that makes sense. In retrospect, I should have designed a quick sound using this as a layer to better show how I’d incorporate it in a final design. I’d encourage you to check out Mark Kilborn’s video on firearm weapon sound design, as that includes a practical example where the transient is split up from the punch sound: m.czcams.com/video/e7U3NDRBeO8/video.html
@@anthonyturi thank you for the detailed answer! that makes a lot of sense
what is this rainbow thing you use to copy paste sound effects?
@@Cloud2KK that’s Global Sampler: forum.cockos.com/showthread.php?p=2506514
I believe there are comparable alternatives for other DAWs if you don’t use Reaper, but Global Sampler is super helpful and free!
@@anthonyturi man youre quick , was just about to delete my comment because i found it haha thanks
@@anthonyturi by the way.. do you know if this exports at the same quality i would get if i would render manually via reaper? cant find anything online about it
@@Cloud2KK Global Sampler, by design, is sampling the audio at the project’s specified sample rate and bit-depth. That is, if your project is set to 24-bit/48 kHz, the audio you pull into your session from the Global Sampler will be of those same specs.
It’s best to think of the Global Sampler plug-in as a simple recorder that will constantly capture the last 60 seconds of the corresponding track’s output. It’s no different than if you were to route the output of one track to another and record everything post-fader.
Now when it comes to exporting/bouncing your audio out of Reaper, you always have the option to downsample/upsample your files and/or modify channel count. So if your session is set to 24-bit/96 kHz, your sampled media would also be 24-bit/96 kHz, but you could always render that media as 24-bit/48 kHz, 24-bit/44.1 kHz, 16-bit/44.1 kHz, etc.
The pros and cons to downsampling are a whole other subject that could incur aliasing artifacts, but all of that is to say you have the flexibility to modify those rendering options after the fact :)
@@anthonyturi awesome thank you