RACHELLE ARMSTEAD

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Engine 

 

In my first drafts of the engine asset, I simply combined various vocalizations with a buzzing instrument that I created using the Vacuum synthesizer.  I then processed the layers with EQ 7-Band and D-Verb in order to created a better blended and more mechanical sound. Some of the criticisms of these sounds were that they were too orchestral in nature and that the vocals didn't blend well enough with the synth. In order to fix the sound, I layered Engine_B with Engine_C and processed the layers with Pitch II, EQ 7-Band, and AIR Fuzz-Wah. I think the edits resulted in a more mechanical and spacey sounding engine. 

 

Vaporizer

 

Much like the engine assets, I created the first drafts of the Vaporizer assets by making simple vocalizations and then layering them with the Vacuum synthesizer. Some of the criticisms were that the sound was too short and that it didn't sound enough like a weapon. In order to correct this, I layered my vaporizer sounds together and added a long reverb using QL Spaces. I also added a layer of an laser sound, which I found on Westar. I trimmed the added sound to fit the length I wanted and then added the Fuzz-Wah to each layer. The resulting laser not only lasts longer but also has a more weaponized sound. 

 

Planet Kraktoh

I created the planet first drafts in basically the same was as the other assets, but with a slight twist, Instead of using only one vocal layer, I layered several different vocalizations at different pitches with the Vacuum synthesizer in order to create a fuller and more ambient sound. Some of the criticisms were that the sound was too flat and that I should process it a bit more to add some variance. In order to create a more varied atmosphere, I layered Planet_01_B with Planet_01_C and then added several layers of wind and water audio that I found on Westar. I then processed each of the layers using EQ 7-band, Pitch II, and QL Spaces. I actually got the idea to add wind and water sounds from a classmate's sounds that I reviewed. I think that the edits, especially the pitch changes and the addition of the extra layers, make the asset sound more like something you might hear on an alien planet. 

 

Barnaby

 

In the first drafts the Barnaby assets, I deviated from the creation process that I'd used on all of the  other assets. Instead of layering vocalizations with synths, I simply used one layer of vocalization for eac asset and the processed it using EQ 7-Band and Pitch II. Some of the criticisms that I received were that the sounds didnt sound quite alien enough because they were too dry and too animal sounding. In order to correct this, I layered the Barnaby assets together and also added audio from Westar, which included sounds from camels, ducks and, buffalo. I then processed the sounds with D-Verb, Pitch II, AIR Chorus, Sci-Fi, Fuzz-Wah, AIR Flanger, and EQ 7-Band. I think the resulting assets are much more alien in nature.

 

 

Fnoon

 

I created the Fnoon's sounds in much the same way that I created the Barnaby's sound. I simply layered various vocalizations with some animal sounds that I found on Westar and then processed the layers. However, for the Fnoon, I used different animal sounds and plug-ins in order to create a unique sound. I used audio of animals screaming along with camel, buffalo, and duck calls (different from the ones used in the Barnaby sounds). I then processed the layers using Pitch Shift II, Sci-Fi, D-Verb, and AIR Chorus in order to create an alien cry. Someone pointed out to me that in the original assets, my fades weren't quite correct. I corrected the fades and then nixed the Fnoon_C asset, choosing to combine and reprocess Fnoon_A and Fnoon_B with Pitch II and EQ 7-Band in order to create Fnoon_F. I think the resulting assets sound more like they could all have come from the same rac eof alien.

 

Teleport Sounds

 

For the teleport sound, I actually recycled the original recordings and synths that I used to create the assets for Planet Kraktoh. I layered them together in different ways and processed them with plug-ins such as Fuzz-Wah, D-Verb, AIR Chorus, Pitch Shift II, and Sci-Fi. On some of the layers, I processed the clip with two separate Fuzz-Wah settings in order to created a more complex sound. I also created a large fade on both ends of each layer in order to follow the look of the ship fading in and out. Some people pointed out to me that some of the teleport assets would sound better if they were layered together. In my revisions of the Teleport sounds, I layered Tel_In_A and Tel_In_B in order to create Tel_In_D and layered Tel_Out_B with Tel_Out_C in order to create Tel_Out_D. I then processed the layers with Pitch Shift II and EQ 7-Band in order to make them better blend together. 

 

Planet D'kuk

 

For planet D'kuk, I followed the same ideas that I used in creating the sounds for Planet Kraktoh. I simply layered vocalizations with various environmental sounds that I found on Westar. I also recycled some of the synths that I used for Planet Kraktoh's sounds. However, I set the synths to different pitches, mixed all the layers differently, and only used wind sounds from Westar instead of adding water sounds to the mix. I also experimented with panning the drones and wind layers in different ways in order to create a more realistic and surround-sound experience. Some of the criticisms that I received on the originals were that the wind noises were a bit flat and the some of the assets could be improved with a bass boost. In order to create a fuller and more ambient space, I first layered all of the orginal assets together and then duplicated the tracks and reversed the duplicates. After duplicating the tracks, I processed all of them with Pitch Shift II, EQ 7-Band, and QL Spaces, each at different settings. I think the resulting sound is much more dynamic and interesting. 

 

Music