KVR Audio

KrotosAudio · Post by **KrotosAudio** » Thu Mar 08, 2018 3:13 pm

Hi Guys,

Does anyone here do much weapon recording for games, films or even beat-making purposes?

If so, what's your usual workflow?

Apparently, 93% of all movies include at least one gunfight but creating unique weapon sounds can be costly and also take a long time! I work for Krotos and to address this, our team recently decided to create a new tool called Weaponiser:
https://www.krotosaudio.com/2018/02/20/ ... overview-1

It can also be used for layering beats and music production in general:
https://www.krotosaudio.com/2018/02/20/ ... roduction/

Is this something any of you might use?

Jeremy

zeep · Post by **zeep** » Thu Mar 08, 2018 3:41 pm

I had seen this a while ago. Seems perfect for working with recorded weapon sounds and preparing them for use in the game engine.
Is it only available with the library?

KrotosAudio · Post by **KrotosAudio** » Mon Mar 19, 2018 5:09 pm

Yes there are two versions - Weaponiser Basic and Weaponiser Fully Loaded and both come with a variety of presets and sounds although you can't buy them independently of the plug-in:
https://www.krotosaudio.com/weaponiser/

zeep · Post by **zeep** » Mon Mar 19, 2018 6:38 pm

I understand. The reason i ask is because for many game projects there is already a library of recorded sounds, so there is no real need for more. So in that case i would be interested in the software only, for a reduced price.

There's certainly use for extra sounds when mixing though. In any case, i will keep Weaponizer in mind.

DJ Warmonger · Post by **DJ Warmonger** » Mon Mar 19, 2018 6:43 pm

Oh god, what the world has come to. Now that is a specialized, niche tool

vurt · Post by **vurt** » Tue Mar 20, 2018 10:06 pm

DJ Warmonger wrote:Oh god, what the world has come to. Now that is a specialized, niche tool

hmmm with a name like yours, youd think youd be all over this!

thecontrolcentre · Post by **thecontrolcentre** » Tue Mar 20, 2018 10:50 pm

Ridan · Post by **Ridan** » Wed Mar 21, 2018 12:58 am

Use to dabble in weapon-esque sound effects a few years ago. Would highly suggest any sort of granular effect as the main component of either a source sample or a basic synthesized "weapon" sound. For this i made a generic laser sound in Massive, two customized deep drones and used some field recordings of tin trash cans and enclosed garage doors. Put it through Alchemy's engine, but honestly don't think it was necessary now that i look back. Kind of muddled the sounds more so than needed. The main tool was New Sonic Arts "Granite".

The Speed and Space functions being the second most essential outside of the source sounds. Having the laser, drones, and field recordings on three separate tracks cycling through each individual sound at different times gave it a sort of battlefield - weaponry atmosphere.

https://soundcloud.com/bcaudio/futurist ... field-2015

zeep · Post by **zeep** » Wed Mar 21, 2018 12:24 pm

That sounds good Ridan.

Guenon · Post by **Guenon** » Sat Mar 24, 2018 1:03 pm

KrotosAudio wrote:Does anyone here do much weapon recording for games, films or even beat-making purposes?
If so, what's your usual workflow?

I usually go with a hybrid approach, record custom material with different mic setups, all sorts of impact/metallic/structural/steamy/etc. stuff... Not only clearly weapon-like, but elements I can use for different layers of a finished sound. Then I combine those with synthesized components, but instead of keeping the synth stuff realtime in the final sound, I first print all synthesized elements as rendered raw material as well, usually right when I'm tweaking/improvising those components ("record what I hear"). So if I'm doing imaginary sci-fi weapons for instance, at the end of that phase I might have narrowed it down to some 4-6 hours worth of raw material in audio form, spread out and picked on the timeline in Live for previewing and cutting.

Then I manipulate that stuff in samplers and granular software and the like, concentrating on the interplay of those different elements that happen during a single weapon oneshot. Amplitude and pitch enveloping is at the core of that, and also getting nice granular colors for some components; Ridan detailed a similar approach that sounds familiar

Especially when doing imaginary weapons, sometimes ones that fire slow large projectiles, or conversely small energy ones, haha, having those real-world recordings helps to give the weapon sound the concrete sense of material and weight and "flight" and inertia and so on.

Fun oneshots like:

https://soundcloud.com/guenooni/scifi-b ... s2/s-6kFUN

And classic techniques like:

https://soundcloud.com/guenooni/scifi-b ... -1/s-9vNAq

and so on

vurt · Post by **vurt** » Sat Mar 24, 2018 1:49 pm

perchoo!
thats my finger blaster sound effect.

Guenon · Post by **Guenon** » Sat Mar 24, 2018 1:52 pm

vurt wrote:perchoo!
thats my finger blaster sound effect.

In that one, the stuff that sounds most like the classic blaster (Star Wars) is literally a slinky! Tried to record it just the way they did it back in the 70s.

vurt · Post by **vurt** » Sat Mar 24, 2018 1:56 pm

Guenon wrote:
vurt wrote:perchoo!
thats my finger blaster sound effect.

In that one, the stuff that sounds most like the classic blaster (Star Wars) is literally a slinky! Tried to record it just the way they did it back in the 70s.

cool. reading the sound design of star wars was an eye opener, lots of clever foley work.

Guenon · Post by **Guenon** » Sat Mar 24, 2018 2:03 pm

vurt wrote:cool. reading the sound design of star wars was an eye opener, lots of clever foley work.

Yeah, exactly. Relevant techniques even these days... And very cool

. Recording real-world raw material gives that certain organic and classic vibe to a lot of sound design like this. Also recording electromagnetic interference and the like, and using that as raw material in the same way, in addition to the usual audible mechanical vibrations recorded through acoustic/conductive means.

vurt · Post by **vurt** » Sat Mar 24, 2018 2:11 pm

Guenon wrote:
vurt wrote:cool. reading the sound design of star wars was an eye opener, lots of clever foley work.
Yeah, exactly. Relevant techniques even these days... And very cool . Recording real-world raw material gives that certain organic and classic vibe to a lot of sound design like this. Also recording electromagnetic interference and the like, and using that as raw material in the same way, in addition to the usual audible mechanical vibrations recorded through acoustic/conductive means.

its also good fun smacking the tension cables on telegraph poles with a big stick.

Weapon sound design