This was a very educational breakdown! Learnt a lot of things about Sound design, I just have one question about the synthetic sound effects you mentioned at 13:44. Do you have any recommendations as to what the best places are to get synths like that? It's something I've been struggling with for a while now. Thank you so much again! The video was super helpful!!
Do you happen to have any idea what microphones they were using for the Exhaust? Also they don’t seem to worry about positioning the microphones in a heated area, is this due to the cold weather?
One trick for not being worried about heat is to run the car for awhile before placing your microphones, you'll be able to find the cold spots in the car and that is where you put your microphones. For what mics they are using on the Exhaust, they change them out quite a bit. Beta58, DPA4062, RE50, etc. If you ever are wondering which microphones they are using on a specific library just look at there metadata and they usually have it listed in the file name.
Interesting, I still have not seen the new Blade Runner, but it has been on my list. Have you seen Ford Vs Ferrari? It has some of the best car sound design I've ever herd.
Really? You can make int car bys by rolling off the high end and applying some reverb to it. If you want more character from your cars, doing the same really helps them out.
why, should you add reverb to a already great interior recording from pole position?. It just doesnt make sense to me. Theres almost no car in real life, that produces reverb in the interior. Maybe some, but they are still not artificially created in a DAW. People enjoy my sounds, because i dont change any characteristics of the car. Why should you want more characteristics, some cars are louder and stronger in interior, some not. A normal sports car interior shouldnt sound like a loud race car. Also that will not be realistic. My customers rather enjoy a more muffeld interior sound, that is 100 percent realistic and without any additions from the exhaust or engine bay. My strategy is 3 different sound channels. Bonnet camera when driving ingame, will be completely engine bay recording, rear chase cam will be exhaust recording, and cockpit interior recording. This would give more variety, because every channel has its own unique sound channel. If you would mix them a bit together, the variety of the car sound will be much more better, and of course fully realistic and original.
@@AftertouchAudio i forgot to mention, why add a doppler effect from a onboard recording to make it sound like a fly by, just pick one field mic with a car fly by from your sound library. Just easy as that. Please explain why?
@@exotic_sounds I'm a little confused by your statement here. Pole's INT designed mixes use there EXT onboard mics in there designed mixes... They also just released car INT impulse response library so you can add INT car reverbs to your sounds to help better achieve this effect. I'm a little confused as to what you mean here, as you also say you mix Exhaust and INT recordings for your INT Chase Cam? It really comes down to what the film scene needs. If you are looking for more character, this is ways you can get it. I'm not saying cut the engine from a 240 on a Lambo and use an Exhaust from a motorcycle to get more character, I'm simply saying, you can mix other perspectives from the car in your INT to give the sound more character, this happens in just about every film I've ever seen.
@@exotic_sounds Some people don't have access to $250 libraries of cars. So if you don't have them or the ones that are recorded are not working for your scene, you can make your own. This is the process of Sound Design vs Sound Editing. If you need something that you don't have, you can design sounds with the recordings you have to make new recordings, vs, just selecting a different sample.
INT recordings sometimes need help, I tend to mix the Engine or the Exhaust with my INTs to help add some character to the car. Most of the character from the car comes from those components so all you are doing when mixing them into your interiors is bringing them out more and having more control over the sound of your car. Plus if you roll down your window slightly, you'll hear more of those components ;)
@@AftertouchAudio but in most games and movies, windows are rolled down. So that wouldnt make any sense either. I accept your oppinion, but thats exactly the thing that most people hate in racing games and movies. They wont only interior sounds in interior, and exhaust only exhaust. Aswell physically that would be totally unrealistic, a sound from a mix outside of the car next to exhaust, should never be played with a mic in the cabin. Id rather have a less immersive sound, than a less realistic one.
@@exotic_sounds We are Sound Designers, we live in the hyper-realistic to make things more exciting for the players/audiance. Again, it is just different flavours. Cars and Guns seem to be the two areas in sound design where people go nuts over "realistic" and what is right for the scene, I'm on the side of do what is right for the scene, if you need more power in your car and a Tiger Roar mixed with a modulated synth layered with your exhaust will get you there then I say do what sells the scene.
In-depth analysis as always, pure knowledge and video stuffed with stunning tips. Also love the final sound design :)
Thank you me dude! We should get another video going sometime haha
The pole position segment, amazing! Thanks. Really the nice highlight
Hey Samy, I'm glad you enjoyed the video =^.^=
Best sound design youtube channel in the game, for real!
Thank you virtualaudiosolutions!! I’m humbled haha.
@@AftertouchAudio hehe its the truth
Awesome video man, super super helpful - also very kind of Pole Position to record that for us!
The Pole Production Team is awesome, so many nice people working there =^.^=
This was a very educational breakdown! Learnt a lot of things about Sound design, I just have one question about the synthetic sound effects you mentioned at 13:44. Do you have any recommendations as to what the best places are to get synths like that? It's something I've been struggling with for a while now. Thank you so much again! The video was super helpful!!
Thank you Ayeshonline, As I have been told on my discord by many users it seems Vital (synth) is the best place to go, and it is free.
@@AftertouchAudio Thank you so much! That is super helpful!!
This was epic. I can't wat to finish this documentary I'm working on so I can send it to you.
Thank you Locksley! I'm glad you enjoyed the video!
Fantastic vid Tyler!
Hey, thanks me dude, I'm looking forward to your next video as well, I heard it is going to be a long one!
what type of microphones are you using for these recordings?
Thank you for your detailed explanation
Hey!! I'm glad it was helpful!
Great video, very informative
Thank you Mark!!!
Do you happen to have any idea what microphones they were using for the Exhaust?
Also they don’t seem to worry about positioning the microphones in a heated area, is this due to the cold weather?
One trick for not being worried about heat is to run the car for awhile before placing your microphones, you'll be able to find the cold spots in the car and that is where you put your microphones.
For what mics they are using on the Exhaust, they change them out quite a bit. Beta58, DPA4062, RE50, etc. If you ever are wondering which microphones they are using on a specific library just look at there metadata and they usually have it listed in the file name.
What is a synthetic effect?
It is an effect that is generated by a synth.
As for me, the most striking film with a car is a "Baby driver". And the most interesting car sound in recent films was "Blade Runner 2049".
Interesting, I still have not seen the new Blade Runner, but it has been on my list. Have you seen Ford Vs Ferrari? It has some of the best car sound design I've ever herd.
@@AftertouchAudio One of my favorite films. After the Rush.
In general, I am a big fan of Dirt and Elite: dungerous games.
@@AftertouchAudio And Blade Runner is gorgeous in terms of sound design, like all of Danny Villeneuve films.
@@speakerjedy I will have to watch that today then haha.
Its very unrealistic to mix interior recordings with exhaust or engine. I would never do that
Really? You can make int car bys by rolling off the high end and applying some reverb to it. If you want more character from your cars, doing the same really helps them out.
why, should you add reverb to a already great interior recording from pole position?. It just doesnt make sense to me. Theres almost no car in real life, that produces reverb in the interior. Maybe some, but they are still not artificially created in a DAW. People enjoy my sounds, because i dont change any characteristics of the car. Why should you want more characteristics, some cars are louder and stronger in interior, some not. A normal sports car interior shouldnt sound like a loud race car. Also that will not be realistic. My customers rather enjoy a more muffeld interior sound, that is 100 percent realistic and without any additions from the exhaust or engine bay. My strategy is 3 different sound channels. Bonnet camera when driving ingame, will be completely engine bay recording, rear chase cam will be exhaust recording, and cockpit interior recording. This would give more variety, because every channel has its own unique sound channel. If you would mix them a bit together, the variety of the car sound will be much more better, and of course fully realistic and original.
@@AftertouchAudio i forgot to mention, why add a doppler effect from a onboard recording to make it sound like a fly by, just pick one field mic with a car fly by from your sound library. Just easy as that. Please explain why?
@@exotic_sounds I'm a little confused by your statement here. Pole's INT designed mixes use there EXT onboard mics in there designed mixes... They also just released car INT impulse response library so you can add INT car reverbs to your sounds to help better achieve this effect. I'm a little confused as to what you mean here, as you also say you mix Exhaust and INT recordings for your INT Chase Cam?
It really comes down to what the film scene needs. If you are looking for more character, this is ways you can get it. I'm not saying cut the engine from a 240 on a Lambo and use an Exhaust from a motorcycle to get more character, I'm simply saying, you can mix other perspectives from the car in your INT to give the sound more character, this happens in just about every film I've ever seen.
@@exotic_sounds Some people don't have access to $250 libraries of cars. So if you don't have them or the ones that are recorded are not working for your scene, you can make your own.
This is the process of Sound Design vs Sound Editing. If you need something that you don't have, you can design sounds with the recordings you have to make new recordings, vs, just selecting a different sample.
Its very unrealistic to mix interior recordings with exhaust or engine. I would never do that
INT recordings sometimes need help, I tend to mix the Engine or the Exhaust with my INTs to help add some character to the car. Most of the character from the car comes from those components so all you are doing when mixing them into your interiors is bringing them out more and having more control over the sound of your car.
Plus if you roll down your window slightly, you'll hear more of those components ;)
@@AftertouchAudio but in most games and movies, windows are rolled down. So that wouldnt make any sense either. I accept your oppinion, but thats exactly the thing that most people hate in racing games and movies. They wont only interior sounds in interior, and exhaust only exhaust. Aswell physically that would be totally unrealistic, a sound from a mix outside of the car next to exhaust, should never be played with a mic in the cabin. Id rather have a less immersive sound, than a less realistic one.
@@exotic_sounds We are Sound Designers, we live in the hyper-realistic to make things more exciting for the players/audiance. Again, it is just different flavours.
Cars and Guns seem to be the two areas in sound design where people go nuts over "realistic" and what is right for the scene, I'm on the side of do what is right for the scene, if you need more power in your car and a Tiger Roar mixed with a modulated synth layered with your exhaust will get you there then I say do what sells the scene.