10 second sound design technique Asbjoern Andersen


Want to improve your sound design skills? Here, sound designer Barney Oram shares his 10-second technique; a simple but effective approach he's been successfully using for years to hone his skills:
Written by Barney Oram
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The 10 second sound design technique is a method I’ve been using over the last few years as a tool to rapidly improve my sound design skills. It’s a simple principle, and encourages depth and detail your sound design work, without demanding a big time investment to complete. I think this technique is best suited to those starting their sound design journey, or those who are looking to improve their skills in a specific niche of sound design.

Improvement comes from iteration; doing something over and over, learning from each attempt

One of my aims, in all of my work as a sound designer, is to make great sounds. I want to design sounds that tell stories, sounds that inform the audience, sounds that build a world. These aren’t trivial tasks; in fact, it can be very challenging to make sounds that both have depth, and sound cool. I think it can seem daunting, especially when starting out, to compare your work to major films and games, that have seemingly incredible sound design work – and wonder if you’ll ever be as good as that. For me, that was scary, but also a motivator. It made me want to figure out what they were doing – how they were creating their sounds – and how I could do the same thing. What I wanted to do was improve my skills – and improvement comes from iteration; doing something over and over, learning from each attempt, and slowly getting better. It’s as simple as that – you’ve just got to practice.

The key to being able to create great sound design is to practice it

Practice makes perfect. It’s taken some years to realise this for myself, but I think the key to being able to create great sound design is to practice it. As with everything, the more practice you put into something, the better you become. Through practice you develop taste, you develop an understanding for how sound, textures, and frequencies function together, and you become quicker at making the decisions that lead to creating great work. It might seem like an obvious concept – but I think it’s an important one to remember.

But how do you practice sound design effectively? I found that doing small and frequent work is a great way to learn. I’m a big fan of doing sound re-designs – taking a clip of media and re-designing the sound for it. This is a helpful exercise to do, as it allows you to practice your craft, and enables you to develop your perception of how sound functions alongside visuals. I wasn’t interested in doing huge, long clips – or full mixes – I just wanted to focus on really in-depth, complex sound design, and for this to be something I could do on a regular basis – once every few weeks.
 

 

So I started by taking really short clips, and working with them. I think 10 seconds is the perfect length to start with. I’ve been teaching myself cinematic sound design in the last year or so – and I’ve been taking clips of visual media, choosing content that pushed me to explore interesting and challenging sounds – and spending 4-6 hours focusing on this tiny piece. This amount of focus, for a fairly considerable amount of time, has encouraged me to really dig deep into designing complex and original sounds. It’s encouraged me to experiment, to explore sound creation, and has led me to create work that I would’ve never considered myself capable of.

A big part of skill improvement is taking feedback from others

I’ve also found that a big part of skill improvement is taking feedback from others – preferably those who you consider to be better than you. Do a few 10 second re-designs, and send them to people you look up to. Often they’ll be able to suggest improvements and changes, even within such a short piece of work. Taking their advice forward into the next piece of work you do is crucial – this is part of how you improve.

It’s best to select a visual piece that focuses on the elements you want to work on the most

I think it’s best to select a visual piece that focuses on the elements you want to work on the most. For example, I try to avoid clips that contain dialogue – and if they do, I generally don’t address it – because this isn’t really my area of expertise. I try to push myself and pick clips that are challenging and complex, so that I can aim to expand my ability and capability in that area.

How to find material to re-design:

There are several ways to find material to re-design. Get permission from the original author of the video you’re looking to re-design, license stock footage, or seek out Creative Commons material from sites such as these: Vimeo – Creative Commons materialPexelsPond 5

You can also use Youtube’s search filtering option to filter by Creative Commons (Filter/Features/Creative Commons)

Next you have to decide if you want to reference the original sound, or not. If you’re wanting to take a clip and imitate the style of sound design used in it, then working with the original as a close reference is a good thing to do. For me, I’ve always tried to approach a clip with my own fresh perspective; so I think avoiding listening to or analysing the original sound of the clip is a good approach, thus not allowing it to influence your work.

Break the clip down into sections of focus, and try to build a narrative flow

Starting the piece, I like to spot through the clip and decide what the main ‘beats’ are going to be. This essentially means I’ll break the clip down into sections of focus, and try to build a narrative flow to guide my work. This can mean highlighting the particularly visually impressive moments, or perhaps sections with a specific tone or mood, or even aspects that have a clear narrative arc already strongly defined in the visual content. Practically I do this by adding markers to my timeline, and noting down a few ideas for each element.
 

 

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    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

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    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
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    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

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    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
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    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

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    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

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    Please note: Some of the recordings were made at 44.1k and some at 96k. They have all been resampled to 48k for the download but the 96k recordings are also available as a separate download.

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    Several waterfalls and rivers recorded in the Vosges Mountains in France.
    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
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After this I like to create some ‘source’ for the project, to use in my sound design. This means I’ll take some conceptual ideas from my rough narrative flow and explore those, sonically, and build a mini library of content I can use in the piece. I often find that when faced with the pressure of a complex and challenging visual, coupled with a blank timeline staring back at me, I can become creatively overwhelmed and not produce my best work straight away. I’ve found using the approach of creating source material to use in my sound design is a great way to avoid this.

So if there was an interesting moment in the clip with, for example, a big sci-fi weapon charging up, I’d open a fresh project, and just start making sounds that are vaguely related to this concept of a sci-fi energy gun charge sound. Perhaps I might fire up a synth and build a few new charge-up style patches; perhaps I might search through my library for sounds with an interesting texture or quality that I could mix into a charge sound; or maybe just pick out some pre-designed charge sounds and tweak them a little to suit my project, accentuate elements by layering in other sounds, or process them with some interesting plugins. Once i’ve done all of this, I bounce all of these experiments into a folder – whether ‘good’ or not – and set aside, ready for the main pass.

Leave it for a day or so, and return with fresh ears to work on it again

Once I’ve got my direction and source ready, I begin to design. I generally work in a burst of 2-3 hours, and try to cover most of the main beats before stopping. The first sounds you create don’t have to be the final sounds – they can be, but I personally often find it is helpful to get a appropriate sound in-place, before tweaking and improving it later. When you’ve done this ‘first pass’, I like to leave it for a day or so, and return with fresh ears to work on it again. Often this break will allow me to come back to the piece with new ideas, and i’m able to quickly see the improvements to make to my work. After getting the piece to a good place after the second pass, I like to share it with a few close friends, for immediate feedback. I generally then take that onboard, make any tweaks or changes to the design as needed, and then do a quick mix pass on the whole thing – nothing too complex or time-consuming, just balancing levels, figuring out what elements to accentuate or not, and attempting to align the sounds with that original narrative vision I began with. After this process, I will then send the piece to someone whose feedback I know will really be helpful – usually someone with experience in that specific area of sound design. I take their advice and go back to the piece, changing it and improving it.
 

You may never be completely happy with a piece of work

I eventually decide a piece is done, when I can’t think of any further improvements to make to it. You may never be completely happy with a piece of work – but eventually you reach a point where you’ve learned all you can from that process. I try to take the new skills and approaches I’ve learned from that piece onto the next one – and start the process all over again. I’d really recommend this as a great way to get better at your design work. It can work for many different areas of sound design – take an aspect of sound design you perceive to be the most difficult or challenging – and try this technique. Create, take advice, repeat. And have fun!
 

Big thanks to Barney Oram for sharing this well thought sound design technique!


 

About Barney Oram:

Barney Oram is a video game sound designer, currently working for Cloud Imperium Games on Star Citizen. He’s passionate about designing sounds, and creating audio experiences that are visceral and exciting. Barney is an active member of the game audio scene in the UK and online, and is a co-host of the Soundbytes Podcast, a monthly podcast focused on games and audio. He can be found on Twitter, and on his personal website.

 

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  • AUDIO LAYERING WIZARD


    SoundWeaver helps you design new sounds from existing audio material in less time.

    CREATE MORESKIP THE BUSYWORK

    USE CASES

    • Produce more assets and increase productivity on tight schedules
    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

    20 %
    OFF
    Ends 1581116399
  • City Life Buenos Aires Ambiences Play Track 71 sounds included, 200 mins total $39.99

    Buenos Aires Ambiences features 71 beautifully and professionally recorded ambient sounds of downtown Buenos Aires, Argentina, with their rich and unique Spanish dialect, a variety of perspectives, locations, and times of day, everything is categorized with metadata input via Basehead Ultra, and mastered in Protools HD.  We originally recorded over 80gb of data which translated to 42 hours and meticulously cut it down to 6.5gb/3 hours and 20 min of the best and most useful ambiences.

    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

  • Environments Mauritius Play Track 75 sounds included, 260 mins total $30 $22.50

    Country, town and city ambiences from the beautiful Island of Mauritius, situated in the Indian Ocean to the east of Africa. The pack covers a range from town and city traffic and restaurant and market crowds to calm ocean waves and the native birds, insects and other wildlife that can be found on the island.

    Please note: Some of the recordings were made at 44.1k and some at 96k. They have all been resampled to 48k for the download but the 96k recordings are also available as a separate download.

    25 %
    OFF
    Ends 1582412399
  • Environments Spring Waterfalls Play Track 17 sounds included, 83 mins total $15 $10

    Several waterfalls and rivers recorded in the Vosges Mountains in France.
    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
    33 %
    OFF
    Ends 1580252399
 
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One thought on “10 Second Technique: Tips to Improve Your Sound Design by Barney Oram

  1. I know I’m late to this, but I literally just started stumbling into some of these practices about a week before finding this post and it has been working wonders! I wholeheartedly agree and encourage others to follow the idea of redesigning short clips to learn/improve your craft.

    I was looking for a way to simplify my process and reduce creative overwhelm when starting a project, and you hit the nail on the head with focusing on/creating specific sounds in a separate session before tackling the first pass. Will definitely be implementing that more in the future.

    Thanks a ton for sharing, Barney!

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