Big stone doors: Tape a mic to a brick the physical contact is important. Heavily compress the mic and rub the brick against a paving stone. Sand and small gravel can be spread on the paving for variation. The result can be pitch shifted down to increase the perceived size of the door. Take a plank or another long object and swing it around rapidly as you would with a real blade.
For lighter, thinner weapons, a bamboo stick or another elastic stick could come in handy. Get a spatula or some sort of large metal cooking tray, if possible steel. This gives a brilliant recreation of wielding the sword. Go somewhere real quiet and record running your hand and arm under your chin — it mixes in nice with the hairs on your arm. Or as I just found out, get a mouse mat with a rubberized or cloth surface and rub that under your chin :- To further this idea maybe put some shaving gel on and take a credit card and lightly rub it across?
That way you get bristly with a bit of slime. Can you still find those squishy balls with gooey liquid inside where you live? Some company had produced a bunch in the shape of eyeballs, hearts, etc until Tipper Gore or Pat Buchanan saw one and shut them down.
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I saw a knock-off version in China Town a few weekends ago so somebody is still making them. Might be a nice overlay to whatever you find to make the sliding tentacles. It also made the bowl harder to finish Use the rounded shells specifically as they have little pockets for air and extra squishy sounds.. Also, I was told that rubbing 2 nickels together with your thumb and forefinger and altering that is a great way to get a sort of creepy crawly sort of noise. Hard bristled brush and a wet sponge with scouring pad on one side scraped along something soft like a bath towel.
Very recently I had to create a skidding sound effect for a game where engine sounds would not be acceptable. When in your sound editor, make a copy of the sound of the floor tile so you would have all effects; metal — cardboard — floor tile and balloon — plus an extra floor tile sound.
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Add a gate to the extra floor tile sound so it increases and decreases in volume every half beat or quicker whichever suits the size of the vehicle best. This decrease has to be sharp, but not to completely faded out, you still want to hear this sound just not as prominent as the original. EQ the master track to suit your needs. The balloon squeal sound should fade in over the overall sound and not be present throughout the entirety of the sound unless it suits the visuals.
For more realistic sound the actual squeal should be just like a background sound to the overall effect less is more — add EQ and a little bit of reverb and voila, tire screech. Trying pitching it down, stretching it. This sound can be used as an element in certain kinds of monster vocalizations.
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If you need some sounds to work from, these sfx libraries can be a good starting point. Basically, your hand is like your tongue, and the cup is like your mouth and part of your throat. I made a great vomiting sound by taking a large bottle of commercial Italian dressing chilled to make it more viscous and a gallon juice bottle filled with water. Take the dressing with the cap on and tip it quickly and hard for the stomach internal sound then in quick succession dump the water on whatever surface you want sidewalk, toilet etc..
You can easily do it all in one, works great! You can even do a few heaves before dumping the water for added realism. Soak a sponge in water, give it a little squish to just prevent it from dripping. Release the water in one big squish over preferred surface or into a toilet. Mike it from the side, holding the spunge above the microphone level to prevent picking up to much of the spunge squish itself. Has a nice dripping tail to it, just like the real thing!
For grassy footsteps I have used newspaper in a plastic grocery bag and softly tapped the bag. It worked out pretty well. Old cassette tape — unravel a few tapes and put the tape on different surfaces carpet, stone etc and walk on it. Also just rotating it between your hands.
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We actually made the footsteps with our hands in it. There are different kinds of grass — green grass and dry grass. People have already mentioned cassette tape for grass but I feel that this sounds exclusively like dry grass. For green grass I use military camouflage. Not sure what the proper name for these is. Extract the bits you like and add the shoe squeaks into the accordion folder sounds for footsteps.
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I recorded myself messing about with a glossy-cardboard accordion folder… wish I knew the proper office-supply term for these things. Then I added just a few squeaks from rubber soles on linoleum. Record yourself banging a boot or a heavy shoe against a heater. You can use a pair of boots to simulate a walking pattern.
Put a sheet of new and straight aluminium foil on a pillow, and cover with a thin cotton sheet e. You can overlay this with the sound of snapping twigs to add realism. Close mic a DVD player door closing, it will give you a motorised sound ending with a thud. You can then mix in the sounds of the surface the robot is walking on, e.
For robotic sounds, these sfx libraries feature a wealth of recordings and designed robot sounds. Lay a strip of carpet on top of some gravel, then pace over it to make a cool walking on snow effect. Then mix it with whatever Foley footsteps you want. One day I laid out a tarp in my iso booth and did a smash up session with lots of vegetables and melons.
At one point, I filled up a bucket of sludge I believe that would be called a sludgebucket and abused the contents for a while. I use that stuff for muddy sludgey footsteps, not to mention parts of all kinds of hits, stabs etc. Word of advice though: Do not get rid of the results down the garbage disposal like I tried to do.
Take one of the elements in the weapon sounds and do a pitch bend.. For a quicker pistol or machine gun, do quicker pitch downs, kind of like the HighQ synth percussion effect.. If you use processed weapon sounds in this element, it sounds realistic, too.. And if you have a bigger gun, cannon, etc, you can make it into a longer baaoooo, tone. That gives it volume, while the more aggressive HighQ effect gives it a feeling of something quickly leaving a gun barrel.
Though I guess you could bring a loop of it in underneath a sustained burst of automatic fire. Reduce the overall mix so the gunshot sits onto of it rather than getting lost in it. Mix in some subtle high frequencies that descend in pitch rapidly at the start of the attack part of the sample.
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Find a kick drum sample, and mix it into the attack part of the gunshot. Try not to compress them too much, or if you have to make sure you leave a quite a long 50ms maybe attack. Also remember to have all the frequency ranges covered. Something that cues up expectation. Sometimes you will get nice effect thanks to that. It also helps sometimes. Try turning a bicycle upside down a touring model rather than a mountain bike… the tires are smoother.
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The other method will probably yield results with more character and natural variation. Digital methods tends to sound static. Lame pun intended… — Sam Watson.