Original subtitles

So water sound effects. Are there any more here? Yeah,

we've got some more these guys.

So let's add some more water sound effects here since we have these open.

So obviously we need an ocean sound effect here.

Let's give it some background ambiance

that's decent.

Let's give that a go. So remember, water sound effects.

I'm just trying to throw all those into the water section.

Now, you know, we have all of these as orange layers.

It would probably be even easier if we were to change up the colors of each,

like different type of sound effect.

We could totally do that in this case as well. You know,

whatever works best in your workflow. In this case,

it would probably be easier for all of us to understand what's going on here.

If we made the water sound effects blue and then the whoosh sound effects,

maybe like a lighter blue and then the dirt bike, sound effects orange,

whatever. But for me, in this case, that is an extra step.

I'm fine with just keeping things, um, the same color for now. You know,

if things start getting like really hectic then I might wanna change these

colors. But um, for now I just know that all the orange ones are sound effects.

That works beautifully. I love this section here.

So I'll just cut this.

So I think because I have the sound of the ocean

and the environment here in the background,

but there is no sound of when his board hits the ocean.

That just doesn't sound right to me. So like,

it sounds like something's off so it sounds empty. So this shot,

we should definitely find a sound that works well for when his board hits the

ocean here. Do I know what kind of sound we should use for this? I don't know.

We can type in water hit and just see what comes up.

Uh,

yeah, none of those sound any good water.

And this is, this is searching like, what was it?

Something like 10,000 sound effects. I have tons of sound effects.

Sound effects I collected from like Adobe. Um,

and just like different databases online,

put them all into one sound effects folder.

And this is what we're accessing here.

So it just searching everything that I got.

But I feel like for this I would need some kind of hit sound effect.

Um, and I'd probably have to mess around with it a little bit.

Let's give that a try. Let's see what's, let's see what's up. So

that could actually work. At first I was like,

hmm. Oh, let's see. It kinda works.

Cool. So

we could see we're in a 10 here. We we're getting a bit of peeking here.

It's pretty loud,

so maybe we turn it down a bit.

This is a good example of where we would want to lower the volume of other

sound effects so that we can let this one kind of come through a little bit

easier. So maybe I'll just bump this down a little bit here,

actually. Sounds pretty good. I like that.

Let's bring it up a tiny bit. Holding shift.

Okay, so this area here, uh,

I'm gonna want some kind of underwater whoosh. So water, whoosh.

Let's see what we got. Perfect. Look at that. How quick was that?

So I'm gonna drag this into my whoosh track

and probably put it over here. And that's a little bit quiet,

so I'm just gonna use the elastic wave tool to stretch it out.

That works beautifully. So I'm gonna close this and trim it down.

So for this, I'm gonna want something above water,

but it's slowed down so I'm not gonna want like normal,

normal, like ocean sound. I'm gonna want it to slow down.

So I might slow it down with the elastic wave.

That's probably pretty good right there. Let's just grab something like that.

And we are going to want to put this in water sound effects, right?

So somewhere over here and we have layered editing on.

So option s to show me all my layers,

just so I'm making sure that we're not overwriting anything. Dope.

That actually sounds really good. I like that a lot. So fade this,

this out here.

I love that actually, it's beautiful. Let's stretch this out a bit.

Cool. Let's take a look at our meters. So eight,

we can see eight is a little bit loud, obviously it's this one here.

And that is where the beauty of mixing comes into play.

It's making sure that all of our tracks don't interfere with each other and

they're all balanced out properly.

And that's one of the hardest parts about sound design is just making sure that

everything is balanced.

I think what could be cool is actually to add like a, a human sound effect here.

I'm thinking like someone like being like, woo Yeah. Or something.

So let's see what we got. Yeah. Human crowd.

Yeah.

Yeah.

Should we throw this in just for, just to see what's good? Yeah,

that's uh, that's Stan Mais by the way.

He always has a crowd of like 20 people watching him and they're all cheering

for him. Yeah, no, no. But like, uh,

adding a human element there could be cool. So human man. Yeah,

that's a good one too. Let's turn that down. Yeah,

that does not sound like me at all. Yeah,

not the best. That almost sounds cheesy, but like something cool,

something real. Yeah. I think these are from like b BBC or something.

They're kind of cheesy. Yeah. Yeah, it's hilarious. Yeah,

I don't know, maybe if we'd like turn that down all the way.

That's actually kind of cool.

Just that little hint of a human vocal in the background.

It makes it feel different.

Sick. All right. I like that a lot. So I feel pretty good about this area here.

We can see we got our w sound effects here. Uh,

the human should probably not go in that area. Um,

but I'm not, I don't really want to create a new track just for that one voice.

Or maybe I should, you know, maybe I should, uh, I could just do that.

And why don't we just make a separate track just for human elements.

So human sounds. Why not?

Because I know that I'm gonna want to add like laughing and stuff to the acro

scenes for example.

So maybe we just put all those in this track and I'm just gonna make this orange

as well. So track color, let's make it orange.

And I think I'm actually just gonna change the pitch of this one here.

Ship space bar to loop that. Let's open up the inspector.

Let's change the pitch.

Yeah, yeah, yeah,

yeah.

Cool. Hop next.

And I'll add one more whoosh there just to fill it in even more.

Let's find some kind of windy whoosh.

I think that's the one that we're using here. Underwater woosh.

That's a good one. Yeah. Oh nine. Cool. So that's,

so one that we're already using. Uh, I need something more basey.

Okay, cool. Let's try that. It could be like a good little, uh,

transition maybe to the next one. So we have layered editing on Remember,

so looks like Seven. So that's the one that we just put in.

It's a little bit too loud. So these two are, um, also gonna be adding up.

So if we look at our, our main bus,

these two low end frequencies are gonna add up.

So it's important to watch that. And if we need to,

we can lower the lower frequencies here in one of these. Um,

just so that they don't conflict too much,

they don't stack on top of each other. And then cause our bus to uh, you know,

peak. So this sound here, why don't we just,

uh, lower the low end a little bit

so it's not as basey. So just like that, take a listen. This is with it on,

that's with it off. And then this is with, it's on.

So we are cutting out a lot of that low end.

We're eliminating that option X shift tab. Close the inspector.

Let's take a listen and we wanna un solo.

Cool. That sounds dope. I'm loving it right now.

We are an hour into this lesson about an hour.

So I'm not gonna drag this on too much.

We have covered a lot of the different elements that I've spoken about within

this module. Um,

you guys are just seeing the real world use case of how I implement all of these

different tools and features that we learned about in the real world.

And this is just as real as it gets. Um,

I would say that right now the sound design, um,

that I'm doing on this video is probably even more elaborate than the main video

itself. The main video that I actually uploaded to YouTube,

the sound design was not too, too complex.

I kind of kept things a little bit simple. Uh,

but for this example I wanted to just go a little bit more

in to show you guys what you can really do with sound design.

And one thing that I like to do every once in a while too is just listen to the

sound design without the music just to kinda get a feel of what we've done in

terms of sound design. So let's, let's just do that right now. Actually,

I'm just gonna, um, control Tilda to full screen.

It sounds sick, I love it.

So why don't we add some longboard sound effects over here.

So let's go back to our index. Remember, let's use our index cuz it's amazing.

It helps us free up a lot of real estate here to actually focus on the things

that we want to focus on. So right now we don't have any tracks,

we don't have any tracks for the longboard stuff.

Let's close off human sound effects. Also,

keep in mind the reason that we're seeing our main bus output here is because we

have automation turned on. Once automation is turned off, we can't see that.

So just remember the reason we're seeing this is because automation is on.

And of course when automation is on, we are able to automate our buses.

So if we wanted to route all of our whoosh sound effects or all of our dirt bike

sound effects to one bus because we wanted to apply automation to all of

those dirt bike tracks, we could do that very easily on the bus and not have to,

you know, perform automation on two separate tracks.

We can just do that on one track or you know, this could be like,

you can route 15 different tracks into a bus and then apply automation on that

bus instead of having to tediously go in on and do and perform automation on

each one of those tracks. So buses are huge for sure.

In this case we don't have too many tracks, so like, this is fine. Um, and I,

I don't know if,

if we're gonna actually need to perform too much automation on these,

but I'll probably end up just feeding, you know, the dirt bike, uh,

tracks into a bus and call that bus dirt, bike bus.

And then same with the whoosh sound effects and the water sound effects. But um,

you know, if this was, you know, groups of three,

then maybe it would make even more sense. But in this case, I'm,

I'm just really focusing on trying to keep, you know,

those groups of sound effects in certain tracks.

So the dirt bike one's here and I'm just trying to make sure that all the sounds

are relatively balanced, so I'm always looking at the meters,

making sure that things aren't peaking too hard. But, you know,

at the end when we're, when we kind of have everything in place,

we can use our faders over here and we can enable automation for our faders.

So we can kind of go through the whole edit and play around with the faders for

the individual tracks or the buses if we've chosen to go the bus route just to

make sure everything feels balanced and good.

So why don't we put some focus into this longboard section and I think that

that's gonna be a wrap to this video. So let's add, uh,

two new stereo tracks over here. Um,

and notice that most of the sound effects that we're working with are all

stereo. I think maybe we could have had some mono,

I didn't notice any mono ones,

but if we do have any mono sounds then they would show up. So here for example,

we have a mono sound. Oh no, nevermind. No that's uh, stereo sound.

So we don't actually have any mono sound effects in here, but you know,

if you ever are dealing with mono sound effects,

you can keep them in a stereo track or just change that track to mono or just

create a, a new track that's, that's mono.

So I'm just gonna hide all those and we've created audio track 12.

I'm just gonna shift Z to make sure that this isn't another track that has

something on it already and it doesn't. So we've just created one track.

Let's add one more. So at a stereo track,

let's call both of these longboard.

Same with this one here, longboard longboard.

And let's change the color to orange as well.

And let's start throwing in some longboard sound effects. So

what I think would be cool for this is skateboard sound effects.

So skateboard on concrete and I know I was looking for this kind of

stuff before. I don't have the best sound effects,

but we could still make use of something that's, you know, close enough.

So something like that

actually works pretty good, sounds pretty decent.

So we're gonna throw that in the longboard track.

So it's gonna start about here. We'll fade that in.

Cool. I'm gonna cut it right here.

And what I can do with this is play with the pan as well.

So why don't we,

at this point I would want the pan to be about here.

So I'll just try to match it like in the video.

So I'll set a key frame over there and over here we'll move it a little bit more

to the right. So we're, we're adding,

we're adding more depth to this sound by just moving it right to left.

So let's take a listen. Cool,

that sounds good to me.

And I wanna add some wind to make it sound like we're going really fast.

So let's see what we got here.

That sounds pretty good to me. It sounds like the camera,

it was actually in that environment. Uh,

longboard sounds are a bit loud,

but let's turn on the music and see how this sounds in comparison to the music.

Too loud. I want it to be quieter.

Now it's too quiet so let's pump this up a tiny bit

Too much. That sounds good.

Let's play with the EQ just to make it,

maybe we can like manipulate it to make it feel like it's actually more in that

environment. So let's me, let's solo it open. The inspector

equalizer band one.

Yeah, I think we might be hearing too much of the high end. So it's unsold that.

Yeah, that's dope. I like that a lot actually. So

cool. That's with the equalizer on this is without,

so it's minimal but to me it makes a big difference.

I like this With the equalizer on just this little change that we did, we,

we basically just cut off a little bit of the high frequencies here.

I don't know if it's, if it makes you feel more like it was in the,

in that environment but just feels a bit more real to me. Option X.

Cool. We could probably extend this wind

and I feel like we should probably just like duplicate this sound here,

option s to see those layers over here. Let's expand these

and I'm probably gonna wanna reset the pen on this

and I might wanna raise this one. Yeah,

that sounds really good actually. Just raising up that volume there.

And then we'll bring this one back over here.

We're going from like further away to closer up to further away.

And really what's making this feel closer up is just the volume.

So all we did was increase the volume.

Now I remember this one has the same pan key framing that this one does.

So I'm just gonna eliminate that cause I don't think we need it for that second

one.

Cool. Works pretty well.

Probably bumped the volume up there.

So we're going, we're going from close to far to close.

So this part here,

so we'll probably want to just key frame this here.

Option click. Let's make that quieter there.

This might be a little bit too abrupt

and cool. Let's add a woosh here. So option as close my layers.

So I can't see those. Shift scroll, so I collapse everything a bit more.

Let's open up that index. Let's show our whoosh sound effects here.

We got three layers of whoosh sound effects. Let's,

yeah, let's add some whoosh sound effects. Definitely need some of those.

Nope, nope.

Let's give it a try.

Maybe we can add this one here for one second.

So audio six looks like we're peeking here. We gotta watch those levels.

We're almost hitting zero there, so let's turn that bad boy down.

Let's turn this down too.

It's okay if we bump it up a little bit

and this is a great time to add another human element to this too. So,

uh, I don't know if we have the best ones right now. Let's open up human

and where yeah, human sounds. So maybe another like woohoo or something.

Let's just move this one over a little option. Drag it,

see what this one sounds like.

It almost sounds like someone like booing or something.

So let's go to sound library. Uh,

human cheer.

No, we just want one person, boo.

Yeah.

Uh, sounds cheesy but it could actually work. So let's give it a try. Yeah,

very loud.

Yeah,

Could work. Okay.

It's like a good little transition segment here. So, uh,

let's open the inspector shift tab. Equalizer. Let's, uh,

cool. Option X way better.

Yo, the eq it does wonders. It does wonders.

Awesome. So I think that's enough for this lesson.

As you can see just this one section over here and I did a little bit

further down too,

but why don't we just show all of these tracks here so we can get a better idea

of where everything's at.

So just this one little section here took about an hour so you could tell how

much time it takes.

The thing that takes the most amount of time is just looking for the right sound

effects. And a lot of the time it's experimentation.

Like sometimes you're not gonna have the exact sound that's like in the video,

but you can find sounds that are similar or just have similar vibes and

manipulate them with the eq,

with things like reverb with effects and just playing around with them and also

playing with the panning and,

and key framing the panning in order to make them feel more as though they are

in that environment. Sometimes you'll be successful, sometimes you won't.

Sometimes you'll give something a try and it's not gonna work as well as you

hope it would. Uh, but that's just part of the learning process, right?

And the more that you do this, the better you get at it.

My recommendation is just to get into the editing program and experiment,

experiment, experiment, experiment. And you'll find yourself being able to, uh,

perform faster and faster each new project because you have more experience

under your belt. You know,

what kind of sounds work well in certain situations and what kind of changes you

can make to certain sounds to make them feel as though they're more in that

environment.

So sound designing is definitely something that just comes with practice.

The more practice you put into it, the better you're gonna be.

But that's it for this lesson.

I hope you guys enjoyed watching just my raw process of sound designing.

I hope you guys learned a lot of new things and I will see you in the next one.