Pennant Video’s Post

Your Own Sonic Identity: Crafting a distinctive sonic identity is like creating your own musical fingerprint – it's about standing out, being recognizable, and leaving an unforgettable sonic imprint. Start by developing a signature sound that's uniquely yours. Consider Hans Zimmer's deep, resonant brass or Daft Punk's futuristic synths – these iconic sounds instantly evoke the creators behind them. Your signature sound should be your sonic calling card, setting you apart in the crowded audio landscape. Versatility is key, but consistency is the glue that binds your sonic identity. Imagine being a chameleon, adapting your skills to various projects while maintaining a common thread. Whether you're scoring an intense action scene or a tender love moment, the consistency in your sonic choices – perhaps a recurring instrument or a specific tonal quality – ties your diverse work into a cohesive, recognizable brand. Don't shy away from the unconventional. Experimenting with sounds outside the norm is what defines your unique style. Picture incorporating unexpected elements – a sampled typewriter, a field recording of urban ambiance – into your compositions. These unconventional choices become the spice that flavors your sonic identity, making it unmistakably yours. Think of sonic motifs as your musical signature. Just like a motif in literature or art, a recurring sonic element – a specific melody, a rhythmic pattern, or a distinctive texture – can become your trademark. Envision John Williams' iconic "Imperial March" from Star Wars or the four-note sonic motif in Intel's startup sound – these motifs resonate across various works, instantly associating them with the creator. In summary, building a sonic identity is a journey of self-discovery in the auditory realm. Develop a signature sound, be consistently versatile, embrace the unconventional, and weave sonic motifs that echo across your body of work. By doing so, you're not just creating music; you're crafting a sonic brand that leaves a lasting impact on listeners and sets you apart in the vast world of soundscapes. #audiolearning #protools #editing #gameaudio #gameindustry

There’s a magic that happens when the sounds of simple or ordinary objects give characters a personality and a voice — when sound effects go beyond accents or embellishments to breathe life into a character. Without words, the squeaks and stomps of Pixar’s Luxo Jr. lamp help convey rich detail and emotion. The beeps, whistles, and blips of R2 articulate his personality while alluding to an entire language.  In the 1950s, sound effects artists Ray Kemper, Tom Hanley, and Bill James used coconuts and a dirt concoction to bring the horses of "Gunsmoke" to life. While some "Gunsmoke" sounds were pre-recorded (listen long enough and you’ll become well acquainted with a particular coyote), the live performance of props to create things like horses allowed these talented artists to react to the script, the story, and the actors. Instead of curating and cuing up horse hoof recordings, the artists picked up a simple pair of objects and quickly did what they needed to do. Each horse was unique, and the sounds of these horses painted vivid mental imagery in the listener’s mind.  Jimmy Macdonald used sound to bring more characters to life than can be mentioned here. One prominent example was a device he invented and built that simulated the sounds of small insects. You can hear variations of the device in Donald Duck cartoons, Winnie the Pooh cartoons, and "The Rescuers". The device was brilliantly simple: a bit of wood, surgical tubing, and a stretched membrane. With it, Jimmy’s characters spoke, sang, conveyed intent, and articulated personality. In short - the performances of these devices helped create nuanced, memorable characters. The device in our quick example video is a replica we constructed of Jimmy’s invention. We have used it in numerous shows and attractions. Despite staggering advances in audio technology, deceptively simple objects and devices remain as valuable today as ever. #sounddesign #soundeffects

When approaching any new sound design element, it's important to envision the end result before you just start "slapping" sounds onto the timeline. One great way to do this is to record yourself vocalizing what you want it to sound like. Not only does this provide sonic direction, but it also gives clues about cadence and amplitude within your sound. In the picture the sound that I vocalized became my template and I can quickly edit my SFX to match. And the great news is... no one ever has to hear you making ridiculous noises into your microphone. Anybody do anything similar / different to this approach?

Here’s an unsuspecting tip on how I get the most CLARITY and IMPACT out of my sound design: Hi and Lo Pass Filters. Specifically using Pro Tools Clip Effects Presets to dial them in very quickly. I love to layer my sound design but it can very quickly just turn into loud mooshy nothing, aka frequency masking. By using hi and lo pass filters I can carve out space in a sound to make tonal room for other sounds. For instance… if I’m layering 3 SFX, a low, mid, and hi focused sound, I can hi-pass the mid/hi sounds to make space for the low SFX, and inversely lo-pass the low/mid sounds to make room for the hi SFX. This ensures that every sound has space to be most impactful. I use the number keys 1-5 to quickly recall these HPF and LPF Clip-Effect presets. Here’s how I lay them out: 1: HPF @ 100hz 2: HPF @ 120hz 3: HPF and LPF 4: LPF @ 10k 5: HF Boost +4db

🔊 Lights, camera, ACTION! But wait, before you hit that record button, let’s talk SOUND. 🎬 1. Team Up Early: The clock is ticking, and your movie’s sound design needs attention NOW. Don’t wait until post-production to bring in the experts. Collaborate from DAY ONE to ensure your sound team is dialed into your vision. Trust me, this partnership will make your film POP like never before! 2. Get Real: No more snooze-worthy soundscapes! It’s time to inject some AUTHENTICITY into your audio. Whether it’s the hustle and bustle of a city street or the eerie whispers of a haunted house, authenticity is KEY. Get out there, record real sounds, and watch your movie come ALIVE! 3. Balance is Boss: Don’t let your sound mix become a chaotic cacophony! Balance is CRUCIAL for keeping your audience hooked. Dial in that dialogue, crank up the music, and sprinkle in those sound effects with finesse. Your viewers will thank you for the eargasmic experience! Lights, camera, SOUND! 🎥🔊 Don’t let lackluster audio ruin your masterpiece. Follow these tips, and your movie will be the talk of the town! Go forth, filmmaker, and conquer the world with your sonic wizardry! 🌟🎬 #SoundDesignSpectacular #MovieMagic

Getting better at Sound Design is important, but it’s also really challenging! It will enhance the cinematic quality of your videos and also make them engaging.✨ These effects lets the viewer fully experience the intended message. Don’t forget to experiment with sound effects in your upcoming video. Consider using these four sound effects to elevate your videos:💯 1. Risers 2. Hits 3. Ambience 4. Wooshes ✅ Save this reel for later! ✨ Drop a follow If you’ve got any value.

Utilizing Filters and EQ: So, let's kick things off with resonant filters. Imagine you're sculpting a statue out of clay. Resonant filters are like those special tools you use to carve out intricate details and give your creation character. For example, if you're working on a drum beat and you want to make the snare sound really snappy and punchy, you can add a resonant filter to make it stand out from the crowd. Next up, we've got EQ, which is like a magical equalizer for your audio. It's like having a DJ booth where you can tweak the knobs to make certain parts of your sound pop. Let's say you're mixing a song, and the vocals are getting lost in the mix. No worries! You can use EQ to boost the frequencies where the vocals shine, making them crystal clear and easy to hear. Now, let's get creative with EQ techniques. Think of EQ as your artistic palette, and you're painting with sound. Sure, you can use it to fix problems and make things sound better, but why stop there? Experiment with different EQ shapes and curves to give your audio a unique flavor. Maybe you want to make your guitar sound like it's playing in a smoky jazz club or give your synth a futuristic vibe. The sky's the limit! Last but not least, let's talk about high-pass filters. These bad boys sweep away all the low-frequency gunk and leave your mix sparkling clean. Picture this: You're recording a podcast, and there's some rumble from the air conditioning in the background. Just slap a high-pass filter on there, and voila! Say goodbye to that unwanted noise, and hello to a crisp, clear recording. #sounddesign #audio #gameaudio

Here’s an unsuspecting tip on how I get the most CLARITY and IMPACT out of my sound design: Hi and Lo Pass Filters. Specifically using Pro Tools Clip Effects Presets to dial them in very quickly. I love to layer my sound design but it can very quickly just turn into loud mooshy nothing, aka frequency masking. By using hi and lo pass filters I can carve out space in a sound to make tonal room for other sounds. For instance… if I’m layering 3 SFX, a low, mid, and hi focused sound, I can hi-pass the mid/hi sounds to make space for the low SFX, and inversely lo-pass the low/mid sounds to make room for the hi SFX. This ensures that every sound has space to be most impactful. I use the number keys 1-5 to quickly recall these HPF and LPF Clip-Effect presets. Here’s how I lay them out: 1: HPF @ 100hz 2: HPF @ 120hz 3: HPF and LPF 4: LPF @ 10k 5: HF Boost +4db

"Sound is touch at a distance"- Anne Fernald Listen: https://lnkd.in/gBkbYqh3 "Sound is touch at a distance" captures so much of what I love about audio. Well-crafted sound can bring a sense of intimacy like no other medium. Shows like Radiolab have deeply influenced how I approach media making. Sound first, visuals second. When I'm thinking about a project, I often start with how it will sound. Sound brings immersion, tone, pace, and so much more. If you can build the work out of sound first, then the visuals will fall into place or (ideally) bring something more to the table. This is true even when the final deliverables are played without sound. This means prioritizing sound in the field and beginning with dialogue, tone, and structure in the edit. All this is coming from someone who got into media making because of a stills camera but now carries around an audio recorder instead of a point-and-shoot. Next time you're hanging out with friends, try recording some voices instead of images—when you listen later, it will put you right back in that moment. I'm going to sign this post like someone who signs their texts. (Because there are two of us!) -Jon