Ivo Ivanov is an experienced sound designer and electronic musician with more than 20 years of industry experience. At Glitchmachines, he is the founder, creative director and chief sound designer. In the more than 10 years of running Glitchmachines, Ivo has also worked with many audio studios including Ableton, Native Instruments, Tiptop Audio, SoundMorph, Twisted Tools, K-Devices, Soundsnap, Plugin Boutique and Signal Space. At the very beginning, we let Ivo Share 10 little secrets for our sound designers.
Sound performance:
Mastering the musicality of sound is the key to creating a more compelling design. Whether you're recording foley or plug-in modulation, don't hesitate to dig out the sound with a performance-oriented mindset. The sound performance is an elusive and subtle design process, you can change the sound according to your ideas. This process can make your design more attractive and more colorful.
Take notes:
Good ideas always come at the most casual time. Don't think that you can remember the details of your thoughts, and it's easy to forget them after hours and days. To do this, you need a notebook or a smart device to record your thoughts as your ideas appear. This will ensure that you can be sure that your thoughts are recorded at the most "fresh" time. When you return to the studio, you need to develop the habit of transcribed them on a separate page for future viewing. Develop this good habit and you will get a lot of fresh ideas for you to use.
Keep it simple:
Sometimes the most meaningless material produces the best results. Don't be stupid about spending money on equipment. You don't want to buy a lot of equipment stacked in the ceiling of the studio, you just need to focus on some convenient and flexible plug-ins or hardware tools to get a deeper understanding of what they can do. Not only does this reduce mental and physical confusion, but it also allows you to streamline your workflow and ultimately make you more effective productivity and creativity as a sound designer. Knowledge is power. The more you know, the more simple tools you can achieve.
Top-down workflow:
Avoid the opposite of Jane – you will never feel that you have enough choices before you finish your work. Therefore, don't design 10 sounds when you need 10 sounds, design 50 sounds and then choose the 10 most suitable ones inside. Although it takes more time, working in this way, you can end up with higher quality results.
Looking for inspiration:
Don't expect that the inspiration will come right away every time you sit in your work chair. In fact, this may be the hardest place to find your next inspiration. Maybe you can plan to travel more and go to places that will bring you inspiration. Bring friends and family, focus on the life experience there, and absorb everything that the environment there provides to you. Bring a notebook or other tool that can record your thoughts and record them when inspiration comes. But, most importantly, you can charge yourself away from the studio. When you return to the studio, you will find that you will be filled with fresh ideas.
Keep in order:
Consistency is the key to sound design. If you want to maintain consistency when you are making a lot of production, you can only consider it from the beginning. This includes the design of the original ideas and prototypes to try what is feasible and what is not feasible. At the same time, there is a need to discuss a set of standards in document management and naming regulations. When you're making some sound or sound libraries, you need to be clear about each step, so you can apply it again when you need it, or make a sound in reverse. This allows you to have good control and mastery of your project and gain more flexibility when deconstructing your design. This is especially important when you need to point to someone else's ideas or make major changes. In general, good results are usually good, but controllable designs are more reliable.
Division work:
Don't try to compress a multi-level workflow into a single project. Focus on 1-2 related tasks to focus on more deliberate ways. For example, if you are recording outdoors, then this day you focus on recording, making sure you get the best recordings and as much material as you can. Get the material on another day and focus on the editing process to ensure that you are mentally and physically rested and heard the material from a fresh listening and neutral perspective. By doing this at every step of your workflow, you can get a higher level of control over the project.
The number of changes Vs. The degree of change:
Consistency is important, but in sound design, diversity is our most important pursuit. Of course, the amount of change and the degree of change will vary according to different projects. However, no matter what kind of project, you need to consider and prepare for the balance between the two, and determine the amount and extent of the changes needed in a design. In game sound design, a lot of changes are usually a natural requirement. In music-oriented sound design, the degree of change is often more effective, as much as possible to avoid making a lot of changes with the same sound. Balance the amount of change and the degree of change, depending on the needs.
Control breathing:
Some small problems are very disturbing, such as the perfect foley that was hard to record, but later found that there are noises of breathing and body movement in the soundtrack. Develop the habit of closing your breath while recording, and you will get more tracks that you can use. When recording long tracks, control your breathing, be aware of the presence of breathing, and keep it as far away as possible from the microphone. You need to let your assistant know to keep quiet while recording, pay attention to any human voice, such as moving sounds and wind noise, distant traffic noise, airplanes and other noises. In a digital recording environment, make sure your gain control maintains a reliable signal-to-noise ratio. Ensure good levels at the beginning, rather than relying on late dynamic processing and standardization.
Avoid using "secret weapons":
"Secret Weapons" will always get you to your comfort zone faster. While these tools can quickly produce exciting and interesting results, you may soon become very dependent on them, and ultimately you will not be able to do anything without these tools. In fact, they are not as ugly as you think. You can impose restrictions on your workflow to constantly challenge yourself. This includes replacing the tools you use and adding new ideas, techniques and equipment to your effects settings. Keeping your workflow up-to-date allows you to keep getting new ideas, constantly challenge and improve your “comfort zone†and ultimately bring you more creative output.
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