In this exclusive guide, he shares some of the creative methods and techniques he uses to make his horror sounds stand out – techniques you can also use for your own nightmarish sound design projects:
1: Use sine wave shaping to compress dynamics
Some of my sounds had very little headroom, which can be seen by the fact that the peak and RMS levels on the meter are very close. Some sounds, such as sirens, sirens, and other hazard-related elements, can benefit from minimal headroom. I often use sine wave shaping to enhance their energy and presence while maintaining their core frequency.
I usually stack several instances of Native Instruments Absynth in effects mode, using the oscillator module as the stereo input. The sine waveform is my favorite because of its “transparent” results, but the possibilities with the various built-in and custom waveforms are endless. You can use triangle, square and sawtooth waves from hard and soft clipping to overdrive and distortion to produce varying levels of energy and the many different other shapes present in Absynth.
I also used Evenide Black Hole reverb inserted between them to create space and reduce the harshness that sometimes occurs when using two wave shapers in a stack, especially on sounds with high harmonic content.
My sound pack, Desert Trash, is a collection of punchy, iconic sounds that have been extensively processed using stacked wave shapers. This allows me to create richer, more dynamic sounds that stand out without overwhelming other elements in the mix.
Trailer for Alessandro Romeo’s Desert Trash Horror Sound Library
2: Use pitch bend to “scrape” the sample and create some sort of stress effect
In horror music and sound design, pitch bending enhances dramatic moments by creating suspense and sudden transitions. This technique is great for creating greater intensity and keeping the listener engaged.
By rapidly bending the pitch of a sample, especially during attacks with heavy hits and percussive sound effects, you can imitate DJ vinyl scratches or create unnatural changes in pitch and dynamics. I use this technique to add tension and energy to the sound design.
I personally prefer to manage pitch bend manually rather than using automation. This gives me more control and expression. Alternating sharp rises and falls in pitch simulate forward and backward scraping sounds, producing pressurized, tightening and disorienting sounds ideal for horror sound design.
3: Use a frequency shifter to eliminate resonance
I like to use frequency shifters for a variety of tasks:
1) To eliminate bad resonances, I often use a frequency shifter to find the correct position in a more musical way, especially when dealing with low-mid and bass frequencies. This technique is particularly effective for creating booms, bass elements, and sustained sounds that do not rely on a specific key or tonal center.
2) When I need to pitch shift a punch sound without reducing the attack, I sometimes prefer to use a frequency shifter instead of traditional pitch shifting. A lot depends on the harmonic content of the sound. Applying a frequency shifter changes the pitch while maintaining a cleaner attack, retaining the clarity and clarity of the sound’s initial impact. Many of the sounds in my latest Boom sound pack were processed using this technique.
3) I generally avoid using frequency shifters on sounds with prominent high frequencies, as this may introduce an electronic or robotic sound, which I consider undesirable in my productions. For atonal effects on warm and cold sounds such as atmosphere and pads, I often use a frequency shifter paired with playing adjacent semitones.
4: Use convolution to create mood and texture
I like using convolutions to create texture around sounds. While I do use it as reverb, I mostly appreciate its ability to create unique sonic environments. Izotope Trash 2 offers some excellent convolution options for this purpose.
My favorite is “Body,” which is great for heavy sounds like bass, brass, and thump. For adding texture and topping elements, I prefer the “Mechanical” and “Vowel” options.
One effective method I use is to feed the same sound into different input tracks. I then loaded different convolutions, one set providing the bottom part of the spectrum and another providing the mid/top frequencies.
I love the process of reversing the process of creating sound effects that work well together as a kit. Rather than making samples to build a song, I start by composing the song itself, and then, I creatively pull one-off samples from the finished piece.
I start by creating a short track or cue using raw field recordings, then apply chains of effects to my sounds, transforming them into sound design elements. This process follows a similar structure to my usual method of creating trailer tracks.
Once I’m happy with the results, I extract the individual sounds from the cue. This opposite approach ensures that the sounds produced are well harmonious because they originate from a balanced “environment”.
6: Iconic Sounds: Themes in Sound Design
I love creating signature sounds because they are the most recognizable elements of sound design cues.
A signature sound is essentially a leitmotif in sound design that is used to reinforce its presence or significance in the narrative. Unlike traditional musical themes, which often have melodies, signature sounds are subtle audio cues integrated into the sound design
Enhance storytelling, especially horror stories.
Metal and string instruments are great choices. In my sample packs “Horror Metal” and “Circus” you’ll find a variety of iconic sounds. The key is instant recognisability that can have a big impact, elicit a specific emotional response and create a more immersive experience for the audience.
7: Play a tonal sound separated by two adjacent semitones to make it even more disorienting
When designing sustained sounds such as atmospheres and textures, I like to combine adjacent semitones and get an unsettling, unbalanced sound that’s perfect for horror.
By playing two samples a semitone apart (such as C and C#), you lose a clear sense of pitch and instead create a harsh, unstable tone. The conflict between two closely spaced frequencies results in an unstable sound that lacks harmonic resolution and feels strained and unnatural.
The result is a sound that doesn’t fit into traditional musical structures, creating a tonally ambiguous feel. This uncertainty of pitch is key to horror’s soundbed, atmosphere and texture.
Playing two adjacent semitones together creates a dissonance, which is perfect for producing unsettling and eerie tones often used in horror sound design. This dissonance is caused by conflicting frequencies in close proximity, which creates a slap effect, a swing in pitch.
Trailer for OPERA NERA Sound Effects Library
8: Create a full body with simple octave layers
A simple yet effective technique for adding weight and presence to a sound effect is to layer the same sounds an octave or two apart, as is done in musical arrangements.
For example, if I have a signature sound that works in the high-midrange but lacks body, I’ll copy it to another track and move it down an octave or two. Or I layer three tracks across three octaves and pan them widely for a fuller, more spacious sound.
In Ableton Live, I usually distort samples in Complex mode, which I find to be the most musical and artifact-free. Then I move the octave as needed. This method is usually more suitable for downward transposition. Listen to the Desert Trash demo to learn about this technology.
9: A sharp idea: use a beard razor as an oscillator
I experimented extensively with this unconventional technique to obtain unexpected results. By placing the razor on a variety of surfaces, such as inside an oven, inside a washing machine, on a wooden surface, and on a metal rack, I’ve been able to generate new waveforms that can serve as starting points for the sampler. Razor-derived waveforms are ideal for basslines and arpeggiators, percussion, and experimental noise effects.
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