sound design ideas Asbjoern Andersen


Figuring out what works for a given project can be a challenge – and to overcome that, sound designer Barney Oram has devised a system to make the process easier. Here’s his sound design system:


Written by Barney Oram



 

Rule of Thirds is a technique I’ve been developing to foster creative re-iteration in my sound design work. It’s hardly a new approach, per se, but I’ve formalised it as a process and implemented it into my own workflow with great results. The phrase ‘Rule of Thirds’ is taken directly from photography, a technique by which the photographer uses a grid when framing photos to create a cohesive and pleasing image. I’m really just stealing the name – my approach doesn’t particularly bear resemblance to the photographic technique. The division of thirds is also fairly arbitrary for my approach, as I’ll go on to explain, but I found it to be a number I was most comfortable with.

As a sound designer, possibly the most important thing to learn is taste – a taste for what ‘works’

As a sound designer, I think possibly the most important thing to learn is taste – a taste for what ‘works’. The ability to understand aesthetic (be it defined by visuals, by direction, or by yourself) and practically apply that understanding in a proficient way is, in my opinion, what produces cohesive and impressive sound design. Some sound designers are inherently good at this – many are still figuring it out. I personally feel like I am still grappling with this concept, and I developed the Rule of Thirds approach out of the need to practice aesthetic understanding and aesthetic exploration in an easy way.

When initially approaching a sound design task, it can often be difficult, if not impossible, to design the perfect sound on the first try. With practice, it can become easier to get closer to initial perfection. Personally, I will almost never use the first sound I make. I have previously fallen into the trap of being content with the first sound I design, but I have slowly realised that I can miss potential to make the sound even cooler, by settling on my initial attempt, and not exploring everything a sound has to ‘offer’. As such, I needed a technique by which I was able to factor quick re-iteration into my workflow on the first attempt at creating a sound.

So, the Rule of Thirds approach is simply this; three steps of iteration for each sound you design.
Let’s unpack that with a conceptual example – this technique will work with any sound you need to create; say a rockfall, a reload, a magic attack, an explosion – even an ambience – anything.
 

[tweet_box]Rule of Thirds: A Sound Design Approach[/tweet_box]  

Let’s use a magic attack, for a fantasy game or film, as our subject. Perhaps you may have an animation, or visuals, to design to – or maybe you are designing blind. Either way, you’ll jump into your DAW, and begin to craft a sound. Maybe you could pull in some organic elements, rocks, whooshes, synth textures, and squash them together to create your first attempt. It isn’t bad – it hits the timings you need it to, it communicates the ‘magic’ aesthetic, and performs as a functional sound. You know it can be better, but you don’t know how to make it better.

Choose a stimulus to work from and iterate with that in mind

This is where we can use the Rule of Thirds – you’ve already done a third of the technique – the first iteration. Now, you will re-design the sound, two more times, with a brand new approach each time. I recommend you choose a stimulus to work from – I usually use a word – and iterate with that in mind. Think of it as a trick to stimulate inspiration.

Take a concept like wide. You’re going to re-work or re-design your magic attack with wide in mind. Instantly, that provokes ideas – you could make more use of panning; you could use chorus effects to add to the width; you could add some subtle movement in the sound by automating an element to pan across the stereo field; you could avoid occupying the central channel for your core elements altogether; or you could duplicate your entire sound, pan hard left and right, and offset the timings by half a second to create a huge, wide sound.

It doesn’t have to be wide – it could be short, long, small, muffled, backward, thin, red, blue, obtuse, organic, quirky, comical, chunky, gritty, smooth, rocky, hot, cold, dense, wet, tonal, hollow, flexible, ornate… anything. Take a descriptive word, be it something related to your target aesthetic – or not – and re-work or re-design with it in mind.

Instantly, your sound has gone in a new direction, and you’ve explored a new aesthetic that you almost certainly wouldn’t have entertained had you approached the sound from a surface level analysis

That’s your second iteration, and second step of the Rule of Thirds technique, done. Let’s move onto the third. This time, let’s take a conceptual aesthetic to work with, rather than a descriptive term; steampunk, for example. Initially, there’s a lot of directions that this could be taken, especially considering steampunk and magic are generally not close neighbours, aesthetically. Perhaps you could use some more clicky, mechanical elements in your magic attack sound; you could use Foley elements like leather, or clinking gear, to punctuate your sound; or you could decorate your sound with subtle air or steam release sounds. You could even just use distortion to make the sound a bit more aggressive, a bit gritter.

Instantly, your sound has gone in a new direction, and you’ve explored a new aesthetic that you almost certainly wouldn’t have entertained had you approached the sound from a surface level analysis. If you do it subtly, and cohesively, it won’t seem unusual to the end user – they’ll just hear a cohesive sound and accept it as part of the product’s aesthetic direction. Only you will know that, in order to get to that final interesting sound, you had to follow a slightly unorthodox approach. And again, it doesn’t have to be steampunk. It could be any aesthetic, any genre, that you weave into your sound.
 


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • Rolling Objects, the next step of our Materials & Textures SFX series, is a diverse collection of 270 HQ sounds which covers a wide range of objects rolling on various surfaces.

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  • African Wildlife is an utterly unique collection of pristine wildlife and nature sounds, recorded in the wilderness of Zimbabwe, Botswana and Namibia over a period of 4 months, 2015. It comes in four categories, covering Mammals, Birds, Ambience and Insects recordings.

    It features animals such as elephant, baboon, jackal, lion, rhino, buffalo, hippo, impala, zebra, bat and hyena, as well as insects and 45 species of birds. 50 minutes of ambience recordings are also included.

    The diversity of African wildlife sounds is widely reflected in this library, with the material including but not limited to screaming, barking, growling, roaring, breathing, grunting, feeding, hooting, warbling, screeching, farting, guffawing, whooping, gurgling, rutting, yapping, snorting, tweeting, trumpeting, chattering and squeaking.

    Extensive metadata including detailed information on location, species, habitat, behaviour and usage is included, formatted for Soundminer. Metadata sheets in .xls and .csv formats are also provided.

    Recording equipment: Sennheiser MKH8040-ST (ORTF) / Sony D100 / Telinga MK2 / Sound Devices USBPre2 / Tascam DR-680

  • This is a sound library containing the sounds of driving on various materials as well as screeching skid sounds.

     

    The contents in this library represent the sound of the interaction between the tires and the surface being driven on, as opposed to the sound of the engine.

     

    Includes the sound of driving on:

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    • Gravel
    • Grass
    • Dirt
    • Mud
    • and more!

     

    Features:

    • 71 audio files in 24 bit 96kHz WAV format
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
    • Available for commercial or personal use without attribution

     

    View a summary of included sounds here

    View a full list of included files here

  • The EFX HANDGUNS collection delivers a fine selection of classic hand gun sounds, including recordings of a COLT FRONTIER 1873, GLOCK, RUGER MK2 SUPPRESSOR, SW 1911, BERETTA F92 and a JERICO 41AE


Latest releases:

  • City Life Sound Effects USA Hotel Play Track 32 sounds included, 20 mins total $20

    We recorded various aspects from a New York Hotel this includes

    Room Ambience
    StairWell Ambience
    Impulse Responses from the Stairwell
    StairWell Emergency door open and close
    Elevator/Lift moving
    Elevator/Lift Button
    Hotel Bathroom Fan
    American Light Switches on/off
    Hotel Toilet Flush

    USA Hotel will give you enough audio to give your project the authentic sound of an American Hotel boosting your project to the next level. USA Hotel has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples

  • Nature & Countryside Ambiences Mountain Air: Ambiances & Winds Play Track 87 sounds included, 294 mins total $59.99
    192KHZ 24BIT • 20.37GB • 87 FILES • 294 MIN • UCS 

    Introducing Mountain Air: Ambiances & Winds, the largest and most ambitious sound effects library from PMSFX to date. This collection features 87 high-quality recordings, totaling almost 5 hours of immersive soundscapes. Captured exclusively in the breathtaking Kuči Mountains, located on the border of Montenegro and Albania, these recordings were made at altitudes ranging from 1,400 to 1,700 meters, offering a pristine and untouched auditory experience.

    Each soundscape is meticulously tagged with UCS-compliant metadata, ensuring you can locate the perfect sound in seconds.

    To reach these remote locations, hours of rugged off-road trails were navigated, accessible only with a capable 4WD vehicle. These challenging terrains and isolated spots provided the ideal environment to capture the raw, unspoiled essence of mountain soundscapes.

    The library includes a diverse array of recordings:

    Still Air: Quiet, serene atmospheres.

    Gentle Breezes to Gale-Force Winds: Dynamic wind recordings that range from subtle rustles to powerful gusts.

    Natural Soundscapes: Crickets, birds, and other wildlife echoing across forests, mountain valleys, and meadows.

    Mountain Villages: Very distant hints of human presence, including faint dog barks and cow moos from small mountain settlements (Serbian/Croatian: Katun)

    This 20.37GB library was recorded between spring and fall, as the trails in Kuči Mountains become nearly inaccessible during winter, even with the best 4WD setups. The result is a one-of-a-kind collection that captures the essence of high-altitude wilderness.

    PMSFX New Library: Mountain Air

     

    Why Choose Mountain Air: Ambiances & Winds?

    Massive Content: Almost 5 hours of audio and 20.37GB of authentic, high-quality sound effects.

    Pristine Locations: Recorded in some of the most remote and untouched mountain ranges in Europe.

    Wide Variety: Perfectly captures the diversity of mountain atmospheres—from tranquil stillness to powerful winds.

    Optimized Workflow: UCS-compliant metadata ensures seamless integration into any project.

    Field-Tested Quality: Expertly recorded and edited.

    For more details check the SFX LIST

    EDITED AND MASTERED WITH: Pro Tools
    RECORDED WITH: Sennheiser MKH8040, Rycote CA-08, Audio Technica BP4025, DPA 4060 and 4062, ZOOM F3

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  • The Animal Symphony – Flight of the Bees was made possible by the collaboration of Mieles Sandrita, who opened their doors to us and provided exceptional care throughout the recording process.

    This sound library offers 55 high-quality audio tracks, each with multiple variations meticulously captured to ensure unmatched sound quality. The recordings are organized with consistent nomenclature, making it easy to combine or swap takes depending on the needs of your project.

    Recording bees in motion posed a unique challenge, as they kept flying around the microphones, and tracking them accurately was virtually impossible due to the number of bees present. Still, we managed to capture complete swarm environments, including tracks with predetermined durations and continuous loops. Some takes can be combined, as on occasion a bee remained within the capture radius of all microphones simultaneously.

    Most of the fluttering sounds are available individually so you can create your scene according to your preferences. Additionally, the sounds are not pre-panned, allowing for complete flexibility in adjusting them to your mix.

    The recording was done with high-end equipment, such as the Sennheiser MKH 8050 microphone, the Sanken CO-100K and a Zoom H6 recorder to capture stereo sound. Thanks to ultrasonic capture, by lowering the pitch of the recordings, a depth and frequency richness is maintained ideal for creative uses, such as the creation of spaceships, jet engines or any sound design.

    The tracks were recorded at 24-bit and 192 kHz / 96 kHz, guaranteeing professional quality in every detail.

    Finally, all recordings have been carefully edited to remove external noises, such as birds, wind, people or footsteps, ensuring a clean experience ready for use in any professional production.

    Ideal applications:
    Video games: Add realism and depth to the natural environments of your games.
    Cinema and Documentaries: Enrichment of the audiovisual product with authentic sounds.
    Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    Total audios: 55 (224 Individually)
    Format: 192kHz – 96kHz/24bit
    Equipment used: Zoom F6 recorder with Sennheiser MKH 8050 microphone and EM258 capsule microphone, as well as a Zoom H6 recorder for stereo.
    Duration: 12m

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  • Ambisonic Sound Effects Forest Atmos Play Track 130 sounds included, 517 mins total From: $129

    FOREST ATMOS is an immersive sound library recorded in 7.0.2 cinematic format with our exclusive array: the Atmos Tree.

    Experience the sounds of nature in this new immersive adventure with 8+ hours of recorded material distributed across 130 files.

    Sound designers Mélia Roger and Grégoire Chauvot have explored the forests of France over the course of 3 years in order to record the diversity of their soundscapes : the dawn chorus during springtime, the trill of insects in the heat of the summer, the quietness of an autumn night or the subtle crackling of frozen trees in winter…

    The library is perfectly suited for DOLBY Atmos mixes.  It also contains extensive metadata and is UCS compliant

     

     

     

     

Need specific sound effects? Try a search below:


 

Here’s a practical example, with some sounds I’ve designed. I decided to make the sound of a big metal machine – perhaps some kind of hydraulic press in a factory, or maybe even a huge robot’s footsteps. It’s perhaps not the best sound I’ve ever designed, but it communicates the idea – and also could represent an attempted first-pass at a sound design task. I began by making a big, chunky sound – lots of metal elements, some punchy transients, some nice mechanical movements and some servos – arranged them into a rhythmic pattern, and created a couple of extra variations by subtly shifting clip timings. I tried to keep the elements relatively raw, minimal processing was used and I mainly capitalised on some great source. You can hear the resulting sound below.
 

Next, I copied my first sound, and chose a stimulus to re-design it with. I decided to make it tight. So I worked with the original layers, stripping back the overlapping aspects, tightening up my fades, layering in some new elements for more of a rhythmic flow to the sound. I also accentuated the transients a lot more, making them shorter and adding some elements to the initial transient to make it more sharp and harsh. I also shortened the servo sounds, and used pitch to make them feel quicker, smaller and more accurate. I think the resulting design is much tighter than the original – and whilst maintaining some elements, has taken on a new life of its own. You can hear the resulting sound below.
 

Lastly, I decided to pick a conceptual aesthetic to work with. I chose an aesthetic close to my heart – Sci-Fi. Again, I copied my original sound, and took it in a completely different direction. My approach to Sci-Fi sound design currently rests upon modulation, and I used a few of my favourite plugins to warp and bend the elements. I decided to flatten my transients and make it more of a flowing, washy sound, whilst maintaining the rhythm of the original. The result is a spluttering, rubbery Sci-Fi style sound, which would be great to describe an alien or future energy. You can hear the sound below.
 

For me, approaching my sound design in this way has proven to be very helpful. I usually find that creating a sound three times, twice from different mindsets and aesthetic approaches, can yield great results. I think it’s about forcing my brain to consider a sound in a different context, and typically that context can stimulate enough ideas for me to make a sound much more interesting. As I said, three is arbitrary – you could, and should, re-iterate on a sound as many times as you need (or as you have time to) til it’s as close to perfect as it can be.

I hope this is an interesting look at my approach, and I hope it is useful. I’d love to hear how you’ve used it in your own work.
 

Big thanks to Barney Oram for sharing his insights on creative sound design!


 

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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  • African Wildlife is an utterly unique collection of pristine wildlife and nature sounds, recorded in the wilderness of Zimbabwe, Botswana and Namibia over a period of 4 months, 2015. It comes in four categories, covering Mammals, Birds, Ambience and Insects recordings.

    It features animals such as elephant, baboon, jackal, lion, rhino, buffalo, hippo, impala, zebra, bat and hyena, as well as insects and 45 species of birds. 50 minutes of ambience recordings are also included.

    The diversity of African wildlife sounds is widely reflected in this library, with the material including but not limited to screaming, barking, growling, roaring, breathing, grunting, feeding, hooting, warbling, screeching, farting, guffawing, whooping, gurgling, rutting, yapping, snorting, tweeting, trumpeting, chattering and squeaking.

    Extensive metadata including detailed information on location, species, habitat, behaviour and usage is included, formatted for Soundminer. Metadata sheets in .xls and .csv formats are also provided.

    Recording equipment: Sennheiser MKH8040-ST (ORTF) / Sony D100 / Telinga MK2 / Sound Devices USBPre2 / Tascam DR-680

  • Natural Human Footsteps is a sound library that contains footsteps sequences recorded and edited in an interior foley studio.

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    • Up to 2 shoe types: Sneakers, Boots (Bare feet for water).
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  • City Life Sound Effects USA Hotel Play Track 32 sounds included, 20 mins total $20

    We recorded various aspects from a New York Hotel this includes

    Room Ambience
    StairWell Ambience
    Impulse Responses from the Stairwell
    StairWell Emergency door open and close
    Elevator/Lift moving
    Elevator/Lift Button
    Hotel Bathroom Fan
    American Light Switches on/off
    Hotel Toilet Flush

    USA Hotel will give you enough audio to give your project the authentic sound of an American Hotel boosting your project to the next level. USA Hotel has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples

  • Nature & Countryside Ambiences Mountain Air: Ambiances & Winds Play Track 87 sounds included, 294 mins total $59.99
    192KHZ 24BIT • 20.37GB • 87 FILES • 294 MIN • UCS 

    Introducing Mountain Air: Ambiances & Winds, the largest and most ambitious sound effects library from PMSFX to date. This collection features 87 high-quality recordings, totaling almost 5 hours of immersive soundscapes. Captured exclusively in the breathtaking Kuči Mountains, located on the border of Montenegro and Albania, these recordings were made at altitudes ranging from 1,400 to 1,700 meters, offering a pristine and untouched auditory experience.

    Each soundscape is meticulously tagged with UCS-compliant metadata, ensuring you can locate the perfect sound in seconds.

    To reach these remote locations, hours of rugged off-road trails were navigated, accessible only with a capable 4WD vehicle. These challenging terrains and isolated spots provided the ideal environment to capture the raw, unspoiled essence of mountain soundscapes.

    The library includes a diverse array of recordings:

    Still Air: Quiet, serene atmospheres.

    Gentle Breezes to Gale-Force Winds: Dynamic wind recordings that range from subtle rustles to powerful gusts.

    Natural Soundscapes: Crickets, birds, and other wildlife echoing across forests, mountain valleys, and meadows.

    Mountain Villages: Very distant hints of human presence, including faint dog barks and cow moos from small mountain settlements (Serbian/Croatian: Katun)

    This 20.37GB library was recorded between spring and fall, as the trails in Kuči Mountains become nearly inaccessible during winter, even with the best 4WD setups. The result is a one-of-a-kind collection that captures the essence of high-altitude wilderness.

    PMSFX New Library: Mountain Air

     

    Why Choose Mountain Air: Ambiances & Winds?

    Massive Content: Almost 5 hours of audio and 20.37GB of authentic, high-quality sound effects.

    Pristine Locations: Recorded in some of the most remote and untouched mountain ranges in Europe.

    Wide Variety: Perfectly captures the diversity of mountain atmospheres—from tranquil stillness to powerful winds.

    Optimized Workflow: UCS-compliant metadata ensures seamless integration into any project.

    Field-Tested Quality: Expertly recorded and edited.

    For more details check the SFX LIST

    EDITED AND MASTERED WITH: Pro Tools
    RECORDED WITH: Sennheiser MKH8040, Rycote CA-08, Audio Technica BP4025, DPA 4060 and 4062, ZOOM F3

    25 %
    OFF
    Ends 1734389999
  • The Animal Symphony – Flight of the Bees was made possible by the collaboration of Mieles Sandrita, who opened their doors to us and provided exceptional care throughout the recording process.

    This sound library offers 55 high-quality audio tracks, each with multiple variations meticulously captured to ensure unmatched sound quality. The recordings are organized with consistent nomenclature, making it easy to combine or swap takes depending on the needs of your project.

    Recording bees in motion posed a unique challenge, as they kept flying around the microphones, and tracking them accurately was virtually impossible due to the number of bees present. Still, we managed to capture complete swarm environments, including tracks with predetermined durations and continuous loops. Some takes can be combined, as on occasion a bee remained within the capture radius of all microphones simultaneously.

    Most of the fluttering sounds are available individually so you can create your scene according to your preferences. Additionally, the sounds are not pre-panned, allowing for complete flexibility in adjusting them to your mix.

    The recording was done with high-end equipment, such as the Sennheiser MKH 8050 microphone, the Sanken CO-100K and a Zoom H6 recorder to capture stereo sound. Thanks to ultrasonic capture, by lowering the pitch of the recordings, a depth and frequency richness is maintained ideal for creative uses, such as the creation of spaceships, jet engines or any sound design.

    The tracks were recorded at 24-bit and 192 kHz / 96 kHz, guaranteeing professional quality in every detail.

    Finally, all recordings have been carefully edited to remove external noises, such as birds, wind, people or footsteps, ensuring a clean experience ready for use in any professional production.

    Ideal applications:
    Video games: Add realism and depth to the natural environments of your games.
    Cinema and Documentaries: Enrichment of the audiovisual product with authentic sounds.
    Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    Total audios: 55 (224 Individually)
    Format: 192kHz – 96kHz/24bit
    Equipment used: Zoom F6 recorder with Sennheiser MKH 8050 microphone and EM258 capsule microphone, as well as a Zoom H6 recorder for stereo.
    Duration: 12m

    19 %
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  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1, FEL Clippy XLR EM272, Sonorous Objects SO.3 and JrF CSeries Pro+ microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.
  • Ambisonic Sound Effects Forest Atmos Play Track 130 sounds included, 517 mins total From: $129

    FOREST ATMOS is an immersive sound library recorded in 7.0.2 cinematic format with our exclusive array: the Atmos Tree.

    Experience the sounds of nature in this new immersive adventure with 8+ hours of recorded material distributed across 130 files.

    Sound designers Mélia Roger and Grégoire Chauvot have explored the forests of France over the course of 3 years in order to record the diversity of their soundscapes : the dawn chorus during springtime, the trill of insects in the heat of the summer, the quietness of an autumn night or the subtle crackling of frozen trees in winter…

    The library is perfectly suited for DOLBY Atmos mixes.  It also contains extensive metadata and is UCS compliant

     

     

     

     


   

2 thoughts on “Rule of Thirds: A Sound Design Approach by Barney Oram

  1. This is a very useful article. Thanks for sharing your knowledge. Its useful to have an approach and methodology. I’m going to try this.

  2. This is a really cool way to think about things differently and come up with something super unique. I will definitely be trying this out – thanks, Barney!

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