In the project, I used a lot of Foley. For example, for the sound of a bird’s wings fluttering, I recorded the sound of a shaking quilt, then stacked two different shaking sounds together and added an EQ automation. According to the Doppler effect, the closer we get the more detail we can hear in the high frequencies, so I changed the eq automation as the pan changed. This provides a more real sense of immersion.

Some of the wood creaks, like the door’s and the floor’s. I recorded an older office chair that creaked when I sat down and leaned back. The creaking of wood is a key element in horror sound effects. I layered all these creaks over the sound of doors opening and closing and some touching of wooden items.

Footsteps are the easiest to record, but also the most difficult, as there are many times when you need to go outside to record footsteps, for example when walking on grass. The noise from outside can make for poor quality recordings, so I usually go out in the midnight hours to record footsteps. You will hear some variation in the speed of the footsteps in the piece and I have recorded many footsteps, such as running, walking slowly and limping. These are an integral part of the work.

In today’s lesson we use a volca synthesizer to restore the sound of the film. In the first Blade Runner clip, the scene shifts from a very sprawling sci-fi city to an interior, with the clip starting off full of explosions and spaceships going through, and then turning into a quiet conversation in the interior. In terms of sound, there is a stark difference between the two clips. The first part of the film I found to be more techno, while the second part was a quiet indoor ambient sound.

At first I chose to use a Volca drum to recreate the sound, and since it was my first time working with a Drum, I didn’t think it would work very well in the first reductions. The second time I got a little more proficient with this synth, I used a bottom drum and a rubbing sound for the first part of the explosion to create a sense of impact from the explosion. Since the drum can’t do padding music, it would be monotonous with this synth. The original version actually sounded pretty much the way I wanted it to, but my lack of skill with the drone led to a less than stellar overall result.

In the second film You were never really here, the overall image is dark and black, so I thought it would be a good idea to use some darker synth sounds at the bottom, in this case I chose to use Volca FM to restore the sound. Unlike the drum, the FM is more like a synth with a keyboard, so I felt it would be more playable. In the film, I modulated a more rumble sound and changed the intensity according to the picture. But when I watched the original version, the original sounded nothing like what I thought it would sound like, the original music was much more powerful and dynamic, and I felt that the combination of both drum and fm played together should give a better reproduction.

This class was not only interesting for me but also allowed me to recreate the sound of a film with a synthesizer in a limited way, and I am interested in the future direction of the screen, so the content of this class was very meaningful for me.

In today’s class we improved the efficiency of our production by learning how to manipulate parameters on a DAW using a mobile tablet, and then discussed some software and hardware for MIDI control. According to Moldove, cybernetics is the art of using computer controllers and software to manipulate sound and create live music” (Golden 2007)

A controller is a control system which is connected to a sound source to produce sound. The controller itself does not produce the sound, which separates it from the initial instrumentation process. I think controllers can play a very important role nowadays, for example when working on very large projects. We can use a tablet to operate the console remotely and change the parameters we want quickly.

There are now also many MIDI systems that are controlled by the body. MIDI3D is a new type of Percussive Glove that allows control of MIDI and OSC. These MIDI control systems take what was a complicated and boring mouse click routine and change it into a more hip and fun model, and another example is Playtronica’s playing through fruits and plants. The MIDI controller for synthesizers, a toy-like thing that can be brought closer to the masses and allow everyone to make music, I think these innovations are a great thing that will not only increase people’s love for music, but also have a great effect on spreading synth music.

The filter is probably the most audibly recognisable synthesiser control. It can be laid down in front of favourite clips for cinematic sound effects in your favourite movies and video games. A filter is the same as an EQ, except that instead of boosting or cutting at specific frequencies, it cuts all frequencies above or below a specific frequency cut-off point.

For this project, I intend to complete a piece similar to the soundtrack and sound effects of a horror game, and I intend to write my own story about what the audio is showing. The reason why I want to do a piece like this is because I want to focus more on sound design for screens and games in the second year. I want to have a good segue for the second year of study.

In this work I will probably use many of the field recordings I have recorded, Floey sounds and some synthesiser music. I’ve done some re-creations of game video sound effects before, but they’re usually less than a minute long and I only have to follow examples of games I’ve already made. So this was a challenge for me because not only did I have to make a 3-5 minute piece, but I had to re-imagine the image in my head and my story.

Envelope is a time-based control that traditionally controls the amplitude of a synthesiser oscillator over time. Most envelopes are divided into four controls, often abbreviated as ADSR: Attack, Decay, Sustain, Release. Attack is to determine how long it takes for the loudness to reach its maximum value and Decay is to determine the curve of how the loudness decreases after reaching its maximum value. Sustain starts after the end of decay and defines how long the amplitude of the end of decay lasts. Release is another decay curve that is only triggered after a key has been released on the keyboard. In the alchemy synth in logic, there is also an H for Hold time, which allows you to adjust the amount of time the peak amplitude level is held before the envelope decay phase begins.

Multi-stage envelopes can be found for complex modulation possibilities compared to simple two- or four-stage envelopes.

The typical use of an envelope is to control or modulate the amplitude. But the difference between using an LFO and an envelope modulation parameter is that an LFO is intended to be repeated continuously at a specific rate or frequency, whereas an envelope is usually based on an event triggered by some user input (keystroke). The envelope generates data based on the duration of the event.

In class we looked at the various parts of a synthesiser, which can use Oscillators, Filters and Effects to modify the timbre of a sound and simulate various sounds. The oscillator of a synthesiser is used to generate one or more waveforms. You use the selected waveform or waveforms to set the basic tone colour, adjust the pitch of the basic sound and set the level relationship between the oscillators. The oscillator can generate different types of waveforms, such as sine, triangle, sine and square waves, the most basic part of the sound is the sine wave, the sine wave is edgy sounding, the triangle wave is similar sounding to sine waves, but slightly rounder, and the square wave is also edgy and retro 8-bit game sounding. square waves.