I Wish Sound Design Was Explained Like THIS
TheCosmicAcademy
https://www.youtube.com/watch?v=qSYAvhNFfHw

Transkript (automatisch erstellt)

0:00 I spent years getting better at sound design and it actually made my tracks worse. Not because the sounds were bad. They were actually really good, but I
0:08 was focusing on the wrong thing. On paper, everything made sense. The sounds were big. The presets were solid. The layers should have [music] worked. And
0:16 yet, my mix always sounded muddy, crowded, smaller than it should be. [music] And this is where most producers get stuck because you think the problem
0:25 is the [music] sound itself. But the issue, it's how they're working together. Sound design doesn't happen in isolation. And once you understand this,
0:34 the [music] goal stops being, can I make this amazing sound? And it becomes, how is this sound different from what I already have? Because when sounds are
0:42 too similar, they don't fit. They fight. [music] Nothing's actually broken here. They're just doing the same job. When you layer
0:58 sounds with similar characteristics, same octave, same tone, same width. They don't add together, [music] they compete. This would be like five people
1:07 talking on top of each other in a room at the same time. Nobody gets louder. It just gets chaotic. So, what works better here [music] is going to be forcing
1:16 contrast between your layers. Instead of asking, "Does this sound cool by itself?" The better question is, how is [music] this sound different from what's
1:24 already there? Let me show you what I mean. [music]
1:42 [music] Same sound, same [music] notes. They just stopped competing. Now, here's
2:01 something important. Even when sounds aren't in the same octave, they can still clash because octave isn't the only thing that matters.
2:11 Another big difference in sounds is going to be the tambber or wave shape. Think of this as just the nature of the sound, what it sounds like. [music]
2:24 [music] Again,
2:43 nothing is wrong here, but they're similar in character. They're trying to do the same thing. When you stack sounds that have the same tambber, same vibe,
2:52 same texture, same energy, they don't really bring anything new to the table. They just blur together. It's like layering two colors that are almost the
2:59 same. You don't get much contrast. You just get more of the same color. This is why stacking opposite sounds usually works better. [music]
3:26 Same roll, [music] same notes, but completely different nature. And suddenly they fit. Sound design isn't about stacking similar
3:34 sounds. It's sounds that contrast each other. And octave and tambber are strong ways we can do that, but sounds can still fight. Not because of what they
3:43 are, but because of where they sit. There's like 80% of our viewers who watch these videos that have not clicked
3:54 the subscribe button. So, if you like these, please hit subscribe, follow us. It helps us reach more people and help more people. Let's talk about the stereo
4:05 field. A big mistake is not thinking about where your sounds sit [music] in the stereo field. Presets tend to come wide or narrow and we just leave them
4:15 there. But stereo width should be a deliberate choice, not an accident. [music]
4:30 Again, nothing is broken here. Both of these sounds are good. They're just both sitting in the same space. The stereo field works best when there is contrast.
4:39 You want some sounds that are wide, but you also want some sounds that are focused.
5:01 Same sounds, same notes, [music] different placement. When everything in the mix is wide, things sound blurry. But if you have an element that is
5:10 focused a little bit more central, the wide stuff now has something to push against. It's like framing a photo. If everything was stretched to the edge,
5:18 there's no focal point. This is why leads, vocals, kicks, snares usually sound and feel better [music] when they're central in the mix and all the
5:26 supporting elements are surrounding it out wide. Remember, stereo width isn't about making everything bigger. It's about choosing what gets to be wide, but
5:35 also what stays [music] central and focused in the mix. And I hate to say this, but even when you get octave, tambber, [music] and stereo field right,
5:43 things can still sound flat. Depth is about front and back. Not loud versus quiet, but close versus far. And a lot of mixes feel flat because
5:55 everything is sitting up front at the same level at the same time. Nothing is technically wrong here, but there's no sense of space or depth.
6:28 Everything is stacked on the same plane. When every sound feels equally close, nothing feels important. It's like if Moose [music] was right up in your face
6:37 the whole time. Hey, it's cute for about two seconds and then you smell his breath and it's a [music] lot. Depth comes from contrast. It's some sounds up
6:45 front in your face and others in the back. That separation gives the mix dimension.
7:08 same sounds, same notes, different distance. So depth isn't [music] just reverb. It's a combination of volume, brightness, and space. Closer sounds are
7:18 usually louder, brighter, drier, while further sounds are quieter, darker, and more spacious. Once you start thinking this way, you stop trying to make
7:27 everything big. You start deciding what deserves to be upfront and what should live behind it. Once you start choosing sounds that actually fit, something
7:35 interesting happens. Your mixes get cleaner, but loudness gets harder, not easier, because the thing holding your track back is not your limiter. It's
7:45 dynamic balance. And that's what I break down