Paladins Smite Overwatch PlayStation 4 Video game, hero, game, fictional Characters, computer Wallpaper png 1298x2160px 2.04MB.Paladins Tribes: Ascend Smite PlayStation 4 Hi-Rez Studios, heros, game, playStation 4, video Game png 1024x953px 1.09MB.Fortnite character illustration, Paladins Smite Overwatch Tribes: Ascend Game, Fortnite, video Game, infantry, weapon png 634x1600px 968.1KB.If anything its amazing ear training, because you get so used to the raw frequencies, and once everything is layered you know exactly what is in your sounds. If you have not tried this method I think you should give it a shot. The reason why I am writing about this is because I am wondering how many other people use methods like this. Yea it might have taken more time to do this, and the general public is not going to know the difference, but it felt 100 times more satisfying knowing that I could truly sound design from scratch. Eventually though I was always able to get the same end results in my sounds that I could get from programming a synth patch.
After that I began to process the sounds using various plug-ins such as GRM tools (which I used for 90% of my sounds on tribes). If it was only 1 or 2 layers though I would not print it, so I could have more processing options for each individual frequency. So it is now 1 track and not 5 for example. I would use a signal generator in ProTools to generate the frequencies that I wanted for a particular sound, layer them and then print them to a new stem. I wanted to start at the very root of sound. However the approach that I took to it was not just go out and record a bunch of sounds and process them.
As i'm sure any sound designer would obviously want. While working on Tribes: Ascend I wanted to have as many unique recordings and sounds as possible for the game.
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