Transformer Sound Effects PATCHED Free Download
Joseph Kitchens
Just watched Transformers Rise of the Beasts. Pretty cool and fun. But Optimus Primal uses Kong's roars from GVK, the eagle maximal uses Hellhawk sounds and atomic breath sounds. It felt so weird, every time I heard those familiar sounds I was taken out of the movie. It's not similar, it's straight up the same, only difference is Kong's roar in Optimus Primal sounds more robotic.
How are they allowed to do that? Are these and other sound effects in the Monsterverse considered stock sounds? And honestly it makes the sound design of the movie look a bit lazy, even though it is amazing when it comes to the clanking sounds of the transformations. Why couldn't they come up with original roars and sounds for these two characters??
As I sat through all of the movies, I was inundated with multiple Transformer-like sound effects that you could tell used the old sound design as a source, but were being highly processed with some kind of newer 'granular-ish' sample playback device. To be honest, I was a little stumped at how they'd pulled it off.
In the last year, I began to greatly use Skanner XT by Native Instruments, after a hasty purchase. Money well spent! For in the first few hours, I became very familiar with how to easily recreate Transformer-like sound effects with the Morpher of Skanner XT.
With the Group 1 selected, start from patch 1, this being Laser Glider (an already very Transformer-like sound) and select patch 2 in the morpher, by pressing the '2' button. Make sure you're holding your keyboard down when you do this!
I would highly suggest rendering the audio from a morph session with Skanner XT and then going back and editing each morph. Through additional processing with effects like flange, chorus, bit crushers and phasers, you can get some authenticity that would blow your mind. If you're a full Reaktor owner using Skanner XT, I would highly suggest ripping the audio from the old Transformers cartoon, and running the original Transformers, 'transform' sound through Skanner XT the way that they did it in the opening of the first Transformers movie. I'm not actually sure this is what was really done, but when I tried it... Whoa! It was spot on. Happy transformations!
In the above before/after sound example you might notice how the transients got rounded off just a tiny bit and everything sounds sligthly more dense and polished which is what the audio transformer does. Also the crest factor is affected, the lower mids are showing more body and there are further qualities beyond which do not unveil that easy in just a mono bass recording. To be continued.
A sentient semi-truck morphing into a ten-metre-tall robot is bound to make a lot of noise. But what noise, exactly? As supervising sound editors for the Transformers films, Ethan Van der Ryn and Erik Aadahl had to decide. "The challenge is how to tell a story with sound," says Van der Ryn, 48. "We wanted to combine organic with synthetic, because these robots are a synthesis of those two worlds."
Taking the iconic five-beat transforming sound from the 80s animated series as inspiration, the team developed a discreet set of noises for each robot by combining synthetic tones with an array of real-life clicks, clangs and whirrs. For Autobot leader Optimus Prime (above), that included recordings of air brakes, scissor lifts and clashing swords. "Swords are great for resonating, ringing metal that really reads," explains Aadahl, 34.
And for some of the robots' more unusual noises, the team turned to the animal kingdom. "To make the buzzing that became Bumblebee's signature sound, we actually caught a bee, put a microphone in a cup with him and let him buzz around," says Van der Ryn, laughing. "Michael Bay really gave us free rein." Other sonic contributors included Van der Ryn's dog, and, in new instalment
Transformers: Dark of the Moon, an elephant's trumpet, slowed down to 20 per cent of its original speed, becomes the sound of an alien mothership. "We're always thinking of what unexpected, delightful sounds we can apply to these moments," says Aadahl. "One thing that we've found over the three Transformers movies is that often the grandest sounds are created by the smallest things. It's funny -- people think that we're dumping cars off cranes to make these big smashes, but more often than not, it's just a dryer door closing."
In order to fully appreciate answers to some of your questions (and to ask more informed ones), you'll have to understand at least some of this material. Suffice it to say for now that the saturation of an audio transformer is fundamentally quite different from the saturation of other nonlinear devices such as transistors, diodes, and tubes because it arises from completely different physical mechanisms.
One thing I would say, is that you may want to back off on the TrueIron effect once you start having lots of things in your mix. I tend to add it to almost every track, but then turn it down as I add stuff. Too much of it will make your mix sound muddy.
I use the True Iron on a vocal track after the Waves Vocal Rider in the track view fx rack. It seems My logic is that I will get a more even harmonic distribution. (does that make sense or sound right to you all?)
Alan, I am looking into some transformer preamps and mics but they are way out of my range price wise. Sadly, my mics are in the Audio Technica $100 dollar range not the Neumann and Manley $1000 dollar and up range. But I may save up for them, it is worth investing in the right gear. With the price also comes the delicacy of the diaphragm and chance of singing the mic to a premature death. That sucks. Used mics are out.
The same would be with the tube saturation in the channel strip. Again, correct me if I am wrong, the channel track would be the carrier and the saturation unit would be the feedback modulator. It seems as if the sound is being driven by these analog wave forms. This would also be the case with the Console Emulator subtly feedback modulating the track carrier. Or is the transformer wave simply being added to the sound?
I need to get a handle on the frequencies these tubes, transformers, consoles etc are modulating the tracks with. They seem to excite the track carrier and create a fatter warmer end result. It is like a clean guitar with modulated distortion, one amp distorting another.
In addition, from your comments it appears that you may be under the impression that the transformer simulator analyzes the incoming signal, then directly creates and emits corresponding harmonics. This is almost certainly not true. There are equations which govern how real transformers work. A model of this can be created in software which indirectly or passively creates appropriate harmonics. The harmonics (and what you have described as their modulation) is a result of properly modelling the physics, not a result of running more oscillators, LFOs, or anything like that.
I would really love to understand this stuff. I think it would take me weeks or maybe longer. All I know is I turn up the big knob and it makes my track sound pleasantly warmer and gives it a fiery presence. I sorry to sound so ignorant.
Magnets can make particles of metal arrange into pretty shapes and music is also particles of charged electrons. So it seem that magnets/coils/transformers are arranging the sound electrons into more symmetrical patterns and shapes. (just a guess)
Effect plug-ins are used to shape and enhance the sound of your music in a variety of ways. Many familiar sounds in popular music are created using effects. Effects include reverb, compressors, and delays. You can use multiple plug-ins on each individual track and change the order in which they affect the sound.
Modulation: Modulation effects, such as chorus, flanger, and phaser, repeat the sound along with the original, but they shift or modulate the repeated sound during playback. The result is often a shimmery or swirly effect on voices and instruments.
Reverb: Reverb simulates the natural reflections of a sound in a surrounding space. It can add definition and presence to voices and instruments, add ambience to a sound, or simulate different rooms and other acoustic environments.
To cut to the chase, the VT-3 is a fun box for heavy-handed vocal processing. It sounds great, and it's very affordable. Everybody recording music with vocals should rush out and buy one. But, to get more critical, it's hard to really rave about the VT-3. For every aspect of it that shines, I can find another aspect to complain about.
The Vocoder mode is why I wanted to hear this unit. I have fond memories of using a real analog Moog vocoder (it sounded amazing), and we've all heard Kraftwerk records. Does the VT-3 emulate this? Sound-wise yes, but only in a very limited way: a vocoder monophonically tracking a single pitched voice. There's no way to feed the VT-3 an external carrier signal, like you can with a traditional vocoder instrument, so you really have to sing on-pitch, and you can't transform your voice into a chord or use your voice to modulate external sounds. Version 1.1 of the VT-3 firmware does allow for MIDI-over-USB control of pitch from the host computer, but this scheme only duplicates the already existing pitch slider on the VT-3. (To be honest, I was not able to test MIDI control from my Pro Tools rig, and I really wish the unit included a standard five-pin DIN jack to connect a MIDI keyboard directly.)
So far, this reads like a mixed review, but before you give up on the VT-3, can I remind you that it's super cheap and it sounds great? To reiterate, if the effect it produces is what you are looking for, you will not be disappointed. And it's fairly easy to hook up in a studio/recording situation. While the VT-3 achieves a certain amount of success trying to emulate some classic vocal effects not easily found in other units, especially at its price point, it's maybe best to think of it as the successor to the cult classic VT-1 box that Roland made in the '90s, which was used to great success by Air and The Knife. And like its predecessor, the VT-3 even has a Robot pushbutton that overrides the current settings and gives you the instant sound of a monotonic robot.
9738318194