Paper Ripping Sound Effect

[Desiderato Merriwether]

Rightnow I've got a nice EQ'd thunderclap and a sizzle and crackle going on that works well for the energy of the portal dying off, and I've recorded tearing paper and foil and layered them for the actual portal ripping open but it's lacking a certain 'energy'.

But are there perhaps other elements in the environment that might resonate with the portal opening? Metal structures vibrating? Wooden floors cracking? Birds scattering? Comes back to the idea of adding debris to an explosion to make it sound really dangerous.

I completely agree with Bryce on the synthesis angle. A good thick synth element can get waaay punchier results than anything recorded in the real world, and they are much easier to bend with regards to pitch and timing because you're bending them at the generative stage and not at the post-waveform stage - no artifacts.

Also, consider frequency content and arrangement when you're putting the sound together. A low or high freq ear candy lead in (but not both), then a very slight pause and a large full frequency event (with that thick synth as a key element) that is followed by a composition that's got a well-mapped frequency layout. elements that bend or stutter will cut through better - but be careful not to junk the design up with too many layers. Everything in there needs to be clearly audible and to be doing something positive to the overall effect.

You might consider synthesis as an option for this sort of thing. Since it's not a real-world sound it gives you a lot of options - it can really sound like whatever you want it to sound like. I would tend to use a lot of bass-heavy explosion type sounds - reverse explosions? Go pitch-shift crazy.Try using a sampler. Try some nice designed whooshes. Reversed glass shards. Just get creative with it.

Expanding slightly on Bryce's ideas of reverse explosion, the classic reverse reverb technique could be very effective. Care would be needed to ensure the "sudden" effect isn't lost but a subtle mix of reverse reverb could add a nice element of suspension.

On Monday the 21st this month my 23 year old daughter and I heard what I am sure was a supernatural sound. It was definitely a sound that I would describe as a dimensional portal that "opened and shut very quick". It happened in a park and the sound happened as fast as a bolt of lightning and only a fraction or so of a second (like the speed of a firecracker) and it happened right in the tree as the leaves blew instantly off the area it took place. There was absolutely no wind that evening. It was the strangest thing I have ever experienced. When I though what it was right after it happened I felt as though something was being intercepted. The sound was an amplified and echo effect version of when the hose of the vacuum cleaner gets clogged, nothing after except the whooshing of the tree because of the immense speed of whatever was travelling through. Just thought I would share hope it helps. This is a great sound effect for a movie I have already written a script for and submitted. We shall see if their sound engineers can get it right!

Dolly is a legend for a million different reasons and employing sound effects in her music is just one of them. This classic hit from the movie of the same name starts out with a jaunty piano riff followed by the tapping of typewriter keys to provide the percussion. When the vocals kick in, the accent at the end of a phrase is delivered by the ding of a typewriter bell that signals that the typist is reaching the end of a line. So simple but so effective.

Singer Otis Redding was staying on a houseboat in California when he began writing the first draft of this song. He finished it with co-writer and producer Steve Cropper and mentioned to him the sounds of the waves and seagulls that he had heard while writing the song. Soon after he recorded the vocals, Redding sadly passed away. Cropper finished the song and worked the sounds of ocean life that he and Redding had talked about into the mix. The sound of the waves features prominently throughout the song, but listen for the seagulls that appear around the 1 minute 50 second mark.

The Beatles dedicated an entire recording session to adding sound effects to this song. The band and producer George Martin enlisted crew, friends, and family to participate and props such as bells, glasses, chains, coins, and a water-filled bathtub were used to create the soundscape of life on a submarine as laid out in the song.

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Korn is my favorite band, but trying to replicate their effects drives me up the wall... Does anyone know what effects could be used to produce the kind of distortion heard in the song "Pretty" around 2:48 and 2:54? To me it sounds like someone is ripping paper into a microphone and heavily distorting it, but I know that Korn generally uses their instruments or voices to make their creepy effects, so I'm trying to figure out how they make this one. Is this just crazy distortion with some wacky reverb? Is this just a ton bass overdrive underneath some other heavy distortion? I guess the effect could be from the bass, but then I'd like to know what that effect is too :) Any thoughts, anyone?

I hate to disappoint you, but the entire song doesn't have anything special going on as far as the effects they are using. The entire song is played with a wah, a very, very detuned guitar, and probably a dimed out or nearly dimed out Mesa Triple Rectifier. The hollow effect that you hear is either from an envelope filter or the combination of the wah riff along with a phase effect, and likely a small stone chorus as well. Munki was known to use lots of choruses (chori?) so my bet's on that. The modulating effect could be a univibe as well; Korn is really into modulation :D.

I was able to get a similar sound using my Analogman Bi-Chorus, Vox Wah, a deeply detuned Les Paul, and my amplifier dimed as far as it can go. I could also add the subtle warble you hear during the times you mentioned with my Jetter-vibe, but I liked the chorus sound better. My amplifiers stock distortion wasn't really enough to saturate the tone, so I had to boost it with my RockBox Boiling Point, which was really the only overdrive I own capable of heavy overdrive settings. I imagine if I had something more than a medium gain Orange I likely wouldn't need the overdrive in the chain at all. Note that in some cases with really low tunings, it's necessary to dial back very high gain amplifiers else the whole mix sounds like a bloody mess.

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