KingSammelot uses it a lot in his streams/videos, I found a somewhat clear audio of it

(I don't know why the video is 1:23 long, ignore that)

GREAT UPDATE :)

SHATTER is now an Ableton instrument too.

Everything the standalone does is here: the same slicing at rising zero-crossings, the same granular pitch-preserving stretch, the same field you drag fragments across, the same per-fragment pitch, reverse and step patterns. It reads WAV and AIFF.

And it goes further in two ways.

Every fragment you play gets its own stereo output in Live, the first on 3/4, the next on 5/6, up to 33/34, while 1/2 carries the full mix.

That changes what the instrument is for: each fragment can have its own effect chain, its own track, its own processing, and be recorded on its own. Each output also carries that fragment's position on the field, so the spatial gesture survives all the way to the mixer.

And it remembers.

Sample, slices, positions, pitch, stretch, step patterns — close the Set, reopen it, and everything is where you left it, with the fragments that were playing still playing.

Spatialization inside Ableton is rendered with equal-power panning, distance attenuation and air-absorption filtering rather than the browser version's binaural HRTF.

Requires Ableton Live 10 or later.

Included in the download are the standalone version (highly powerful for use with a tablet) and a PDF manual.

I recently opened Ableton again after putting it away for a few years to prioritise adulting.

I ended up completely losing myself in creating and morphing sounds from scratch. I felt like a kid again and now all I want to do is get back on my laptop and create.

I’ve always been interested in post audio for film and sound design but I have no idea where to start taking it seriously.

For anyone working in the field what would you recommend as a first step? To get the wheels turning in the right direction

I've been trying to recreate the main synth for countless hours now, i have tried every effect, distortion, downs amping, quite a bit of presets and custom made sounds, but i JUST can't get it to sound right? It sounds too tinny or sounds distorted as fuck, or doesnt portray the right emotion to me, i can link my recreation too if anyone is interested.

If anyone could help me im trying to recreate this song for a personal project, and it's driving me nuts.

I have been using serum 2 or 3x osc for this, I have quite a bit of plugins too, FL studio.

Hi everyone ! I got some question about a bassline sound design in a song I like

TWIN SOULS - I HATE MODELS

https://on.soundcloud.com/EMsBLspI7V3H0zLLPP

the bassline I'm talking about appears at ~2:50

- How do i basically made this in serum 2 or in a wave table in ableton ( I got ableton live 12 suite ) ?

- Is there any syth vst that can naturally make that kind of bass ?

- is that bassline layered ?

- I guess there is overdrive, or some kind of lamp Amp distortion on it, any other sound design element ?

Thanks a lot all ! hope y'all Have a great day !

I will give someone a firm handshake if they can give me some tips on how will sparks makes his leads in his never stuff ❤️

Hey everyone,

I need help from the community.

I’m a freelance sound designer (I am still a student in sound but already worked with a few clients before) and recently started working with a team on a big video game sound pack. We’re working remotely, and I’ve been putting in 6 to 7 hours a day of non-stop, focused work with zero breaks to meet their demands.

Here is the current situation:

-No contract yet: I’ve been working since August 25th (already delivered a week’s worth of files to their GitHub repository), but there is still no signed agreement or down payment.

-The quota: The team lead expects a minimum of 15 sound effects per day.

-The pay structure: I originally quoted my day rate (€250/day). The client rejected it and proposed paying "per sound tier" instead, offering roughly €300 for 100 sounds (around €3 / €3.30 per sound effect).

Creating quality SFX takes time (+ variations). Producing 15 unique, polished assets daily without breaks feels completely unsustainable, and €3/sound seems insultingly low for custom work.

I’ve put all work on hold today to address this.

1. How would you handle the fact that they already have my delivered assets on GitHub without a signed contract?
2. How much should I actually be charging for a project like this? (Project started on the 25th of August until the 12th of October)

Thanks for your input!

EDIT: The guy sent me this today, could you share your opinion if you don't mind?

He ran my delivered audio files through an automated audio spectrum/correlation script to measure similarity against original sounds ("masters") and created this pay scale:

-Master Sound (Simple): €4.00 -Master Sound (Standard): €6.00 -Master Sound (Complex): €10.00 -Light Variant (10%): €0.60 (e.g., slight pitch/EQ/volume tweaks) -Medium Variant (30%): €1.80–€3.00 (layering/editing changes) -Heavy Variant (50%): €3.00–€5.00 (distinct new takes on the same asset)

For my first week (185 files total, heavily weighted with variations), their script calculated €695, which they rounded up to €760 as a "gesture."

For the full project (~455 assets), this model would net me around €1,800 total (roughly €3.90/asset on average).

Hmm I don't know what to do.

​Hey guys. Marketplaces are saturated, so I’m weighing two paths for long-term stability as an independent sound designer:

​1. Direct Sales (Gumroad): Learn After Effects to make premium custom visuals (UI players, visualizers) to market my SFX/audio packs. (Generic stock footage looks cheap).

​2. Game Audio Implementation: Double down on Wwise, Unity, and C# to target indie studios for custom interactive audio work instead of selling packs.

​Which path has better long-term ROI and stability today? Selling packs with a unique visual brand, or focusing entirely on technical implementation?

I have accidentally become the audio editor for a D&D podcast that my friends and I make. I have really enjoyed the process of learning how audio editing works, though as I'm self taught entirely through Mike Russel youtube videos and trial and error, I'm sure my skill level is vastly below professional level. Nonetheless, what started out as simply learning how to make our voices Not Sound Bad(tm) has turned into a really fun hobby as I've started incorporating more music and sound effects into the show.

Most of what I use is sourced from Envato Elements, but sometimes I'll run into a specific sound effect that I'm looking for and just can't find. An example of a more recent challenge is making the sound of a giant island-sized glass dome crack and shatter - I had to find a lot of samples of splintering ice and rockslides and whatnot and do a lot of EQ tweaking and reverb/echo to make it sound as big as I wanted it to while still sounding like glass.

I'm currently finding myself in a bit of a rut - I need some sound effects for magic beams of light. Almost all the stuff I have found on Envato doesn't fit the sound I have in my head that I want to recreate - specifically, I want to make something akin to the sounds of Sora unlocking a keyhole with his keyblade in Kingdom Hearts 2. I want those bright, glittering beam sounds without it just being a straight up high pitched ring. I'm just using the actual game sound effects as a place holder for now but it feels wrong to just straight up rip something else's sound effects and use them for myself, though we don't make any money off the show.

How are sounds like this made? is there any foley work involved or is it all synthetic? How could I create something similar?

Hello! im going to be playing Mother Ship a scifi TTRPG with my friends.

I have a yeti mike, a speaker, and an android phone. Im looking for some kind of sound software app I can use to edit my voice on my phone while I talk though my mike connected to said phone. Whats a good free app for synthizing my voice live?

Keeping it general, just curious about anyone's experience with this: currently work in AAA game dev. For many reasons will likely be having to move countries within the year, the new one has decidedly less studios, but i can legally work for US and EU/UK companies, so hoping between freelance indie work and hopefully short term contract work I can pull something together, also have a fair bit of experience in film sound.

The lack of stability is daunting, but owning my own thing is very enticing - even if it ends up being not as much money as I currently do in AAA, as new country is much lower cost of living.

Part of me feels like I'm an idiot for potentially giving up a big studio gig right now.. but for reasons beyond my control the move is relatively inevitable and i just think its likely they wont keep me on remotely, but ill still give it a try with them. Same time I see the BS with AAA game dev and owning my own thing has its draw big time. And I figure to some degree, I have a decent savings, so fuck it, give it a shot?
Effectively would be forming a interactive/linear sound design/production company.

All that to say, anyone done this or something similar? Loved it? Hated it? Any advice? Am I stupid? Ill take any comments haha

I'm a beginner gaming editor using DaVinci Resolve i have 3 months of experience and I'm currently trying to improve my hooks and sound design.

I don't use music in my edits, so I'm trying to learn how to make hooks feel energetic and engaging using things like:

Impacts

Whooshes

UI/notification sounds

Risers

Layering multiple short SFX together

My biggest problem isn't finding SFX anymore. It's knowing what sound to use, when to use it, and how to layer sounds without making the hook feel noisy or over-edited.

For example, when a creator says something important in a hook, how do you decide whether that moment needs an impact, whoosh, subtle ambience, a small UI sound, etc.?

And how do you make a hook feel energetic purely through sound design, pacing, and visuals without relying on music?

I'd especially like advice from editors who are experienced with gaming/YouTube editing. How did you develop that instinct for knowing what SFX a moment needs?

Hi, I'm trying to find the shine sound effects in this video: https://youtu.be/LnbDaoKNBcs?si=65Ia5aDupz7LhuOv&t=2417 at 40:17. It kinda sounds like a metallic glow or something. I've tried lots of free sites and youtube videos but nothing sound like that. Any help?

Does PT not support quicktime wrapper for DNxHD codecs any longer? I'm in doubt of whether I should request MXF-OP1a or MXF-Atom from my client... Or just convert the video file myself when I get it. What do you guys do?

Hi folks,

This doesn't seem to be against the rules so I hope it's okay. But I need a sound designer for my game. It's an RTS and I need very short (<3 seconds) sound effects for the buildings in my game. These are the sounds that are played when buildings are clicked on by the player.

There are a total of 20 buildings. The game is greatly inspired by the RTS titles of the 90s such as the age of empires and seven kingdoms. So building clicks sounds from those games sound good to me.

My budget is around 12$ per building. A bit of room for negotiation but not much. Please share your portfolio and similar experiences you have.

Thank you!

Update - Hired someone! Thanks for the submissions!

Hi everyone! This is my first sound design video. Its been 2 weeks that i decided to learn sound design. First week was watching videos to understand the concept. Second week is trying to figure it out.

I'm a recording engineer in a music studio. I realize that studio business is not for me that much and i love games and creative stuff. So i want to work on game audio.

Any advice and criticism is appreciated. Thanks in advance!

I’m curious how professional sound designers approach complex mechanical sounds like the transformation sequences in Transformers.
When you hear something like a robot transforming, there seem to be hundreds of tiny mechanical sounds layered together — clicks, clanks, gears, metal scrapes, impacts, motors, etc.
Do sound designers usually:
Manually select and place individual samples/Foley sounds to match every mechanical movement in the picture?
Build some kind of procedural/generative system using samplers, granular synthesis, randomization, etc.?
Use a hybrid approach — manually designed major events, with procedural/randomized layers for the smaller mechanical details?
For example, I’m wondering if it’s possible to build a “mechanical sound generator” where you feed it a few metal/machine samples, and it can generate varied, organic-sounding sequences of clicks, clanks, scrapes, gear movements, etc., based on parameters like movement speed and intensity.
I’d love to hear how professionals actually approach this, especially for film/TV sound design.
Also, if anyone has examples of plugins, techniques, tutorials, or workflows for this kind of procedural mechanical sound design, I’d really appreciate it!

Hey all - just want to share a New UI Click SFX Pack with 32 sounds - made by a person.

It has clicks, taps, closes, pops and popup sounds for games, apps and websites. Trimmed with no silence at beginning - read to implement in both WAV & OGG format.

Check it out: https://mervebozdag.itch.io/ui-click-sfx-pack

P.S - I've worked with this sound designer extensively and really love the more "organic feel" of her sounds. Just trying to help her get the word out. Thanks!