Quick note: while the blade impact sounds in Sekiro do have a 'tone', they're enharmonic, so talking about a 'tonality' (which implies harmonicity) is a bit of a stretch. More about harmonic vs enharmonic sounds in my Resampling 101 video: th-cam.com/video/lpR6BunwcM0/w-d-xo.html Coming soon: Part 6: how to create custom 'building block' drones and pads. Part 7: applying the principles of movement to a synth patch in Serum. Part 8: editing, layering, processing.
Super excited to go through some of your new videos! On the topic of tonality, I was wondering if you knew a way to take a tonal sample, and make it atonal. Like if you could Fourier decompose a sample and pull down the fundamental while boosting the harmonics maybe? I’m not even sure that would produce the desired effect. Like if I have a gong sample and it’s resonating at a C2, is there a way to reduce the tonality and make it sound more hollow? Is this a thing in the sound design world?
Hey thanks! So, one of my favorite ways to get an enharmonic sound out of an harmonic one is to use frequency shifting. I talk about it in the Resampling 101 video. You can also try using the Deconstruct module in iZotope RX. It allows you to separate the Tonal vs Noise parts of a signal - although pushing it hard will introduce 'RX-sounding' digital artefacts. Another technique I quite like to change the character of a sound is the Spectrum crossover mode in Melda multiband plugins. I mostly use it in MWaveshaperMB. Instead of dividing the spectrum by frequencies [left to right: lows to highs], it does an FFT of the signal and divides the partials by loudness [left to right: quiet to loud]. This way, the noisy parts of the signal tend to be in the left bands, while the tonal/harmonic parts of the signal tend to be in the right bands, with the fundamental usually being the rightmost. Super fun effect but again, if you push it hard you introduce digital artefacts (which can be cool in themselves). I'll do a tutorial on this at some point!
![Pt 2 - Sampling: risers [Sound design workshop]](http://i.ytimg.com/vi/UMpLPzC4Ck0/mqdefault.jpg)
![Pt 2 - Sampling: risers [Sound design workshop]](/img/tr.png)
Quick note: while the blade impact sounds in Sekiro do have a 'tone', they're enharmonic, so talking about a 'tonality' (which implies harmonicity) is a bit of a stretch. More about harmonic vs enharmonic sounds in my Resampling 101 video:
th-cam.com/video/lpR6BunwcM0/w-d-xo.html
Coming soon:
Part 6: how to create custom 'building block' drones and pads.
Part 7: applying the principles of movement to a synth patch in Serum.
Part 8: editing, layering, processing.
Great video, and great sound design in terms of your own efforts! I like you point about tonality.
This is really exciting! I've been trying to up my game tonality wise, for this exact reason, I'm gonna watch everything!
Super excited to go through some of your new videos! On the topic of tonality, I was wondering if you knew a way to take a tonal sample, and make it atonal. Like if you could Fourier decompose a sample and pull down the fundamental while boosting the harmonics maybe? I’m not even sure that would produce the desired effect. Like if I have a gong sample and it’s resonating at a C2, is there a way to reduce the tonality and make it sound more hollow? Is this a thing in the sound design world?
Hey thanks!
So, one of my favorite ways to get an enharmonic sound out of an harmonic one is to use frequency shifting. I talk about it in the Resampling 101 video.
You can also try using the Deconstruct module in iZotope RX. It allows you to separate the Tonal vs Noise parts of a signal - although pushing it hard will introduce 'RX-sounding' digital artefacts.
Another technique I quite like to change the character of a sound is the Spectrum crossover mode in Melda multiband plugins. I mostly use it in MWaveshaperMB. Instead of dividing the spectrum by frequencies [left to right: lows to highs], it does an FFT of the signal and divides the partials by loudness [left to right: quiet to loud]. This way, the noisy parts of the signal tend to be in the left bands, while the tonal/harmonic parts of the signal tend to be in the right bands, with the fundamental usually being the rightmost. Super fun effect but again, if you push it hard you introduce digital artefacts (which can be cool in themselves). I'll do a tutorial on this at some point!
@@HoMinhAudio Awesome! Thanks for the detailed reply