This is how a lot of radio production works, especially concert commercials. You just take it one step at a time. Typically, there are time constraints on the spot as well as specific requests or restrictions based on the contract. If it's a bumper/sweeper, it all depends on the things I mentioned already.kbaccki wrote:The other thing I forgot to mention is that the totally overprocessed sound you're talking about needs to be done in several passes... I.e., there's no one-shot solution, if you know what I mean. Those spots are pieced together from layers of hacked, chopped, channeled, and processed clips... E.g., a common effect is the st-st-st-st-st-stutter they put in for dramatic effect, which is easy to do with any old WAV editor... I may be stating the obvious here, but if not: you need to think in terms building the thing from the ground up, not applying a rack of effects to a single, static voice track.... Know what I mean?
Brent
