CASE STUDIES
These case studies show examples of my work, and the process that went into creating them.
It has been a fun experience to look back on some of the projects I've worked on, and reflect on the success, as well as what I might do differently.
CASE STUDY
FRACTURE
THE OBJECTIVE
Create an instrument capable of creating a wide range of clap sounds for electronic music production.
Desired sounds included “classic drum machines” like 909, 808, and 707, as well as realistic “sampled”
sounds inspired by producers like J Dilla, The Neptunes, and more. Next, explore new sonic territories by
expanding the sound engine with a set of intuitive parameters, allowing them to reach “extremes” to
create sounds not associated with the original intent of the module. Achieve desired sound quality
while providing an interactive interface for maximum playability.
THE PROCESS
We dissected and reverse engineered the sounds referenced in the creative brief using tools already
accessible in the DAW. We found that the desired drum machine sounds were commonly generated by
running white noise through a filter and VCA. A complex envelope generator is then routed to the VCA
to create the effect of multiple people clapping slightly out of synch with each other. The filter is then
set at a fixed frequency for color. We proved this theory by using a digital modular environment (The
Grid by Bitwig) to recreate the sound.
Next, we analyzed a set of samples from a sample library focused on more realistic sounds. It was
obvious that these sounds were literally recordings of multiple people clapping into a microphone. The
character of these samples has a lot to do with the quality of the recording, whether it was generated
from scratch, or sampled from a previously recorded source, such as a vinyl record. We noticed that lots
of samples had sounds other than claps in them. As sampling is such an important technique in hip hop
and electronic music production, many samples included other instruments, room noise, vinyl
distortion, and similar characters.
After this research and reverse engineering, we used frequency analysis to determine what range of
frequencies our module would need to produce. This aided in deciding what sample rate and bit depth
to use when recording the sounds as well as which one the module would need to run at for peak CPU
efficiency and accurately reproduce the desired sounds in real time.
THE SOLUTION
A sound engine that uses samples instead of noise as the basis, running through a similar signal path as
the analog drum machines.
We prototyped using the daw and rough samples to prove the concept. Once we had sounds we were
happy with, the software engineer started coding the engine and I began designing sounds for the
engine.
I rented a studio with an analog console similar to what would have been used in my reference samples,
selected a few different microphones, and collected a range of materials to be recorded. I recorded
upward of one thousand samples of claps, wood strikes, metallic clinks, glass breaks, mouth pops and
more. All samples were recorded at 96k in order to preserve as much quality as possible for future
pitching and stretching of the samples. Special attention was paid to mic technique and isolation while
recording each sample.
After the samples were recorded, I created a pool of the favorites, and edited them to fit the
requirements of the engine. Sample length, frequency range, and loudness were the main points here. I
used compression and eq when needed, sculpting the samples to fit the engine perfectly.
THE RESULT
After beta testing and guiding the engine to what I and our team decided was acceptional quality, a
module known as Fracture was born. Fracture is an intuitive instrument with handy parameters over
the surface, amount of people in the room, and how “tight” the clap together. It creates all of the
sounds we desired and more. Drum machines, loose claps, and applause are the tip of the iceberg. With
built in effects, and access to each individual sound, it dives deeper into sound generation for sound
designers for metallic bursts, glass breaks, running water, rain and much more.
LOOKING BACK
Fracture does exactly what we want it to do and more. I am extremely proud of the outcome. If I were
to do the module again with my current experience and knowledge, I wouldn’t do anything different to
the sound engine. However, I do now recognize that there is one issue with the module’s interface that
could have been solved with more intense beta testing. The Accent input responds a bit slow, making
accents a little difficult to sequence. Other than that, this module is a great instrument with a signature
sound that I hear on records all the time now. That is incredibly rewarding.
CASE STUDY
CRATER
THE OBJECTIVE
Create an instrument capable of replacing sample libraries for kick drum, explosive booms and larger than life bass drops.
Desired sounds include “classic drum machines”, as well as realistic synthesized bass sounds used in electronic music production and cinematic sound design
Crater was a mission to solve a problem for live performances and studio production. The problem was that there are lots of ways to make kick and bass sounds without enough real-time control to sculpt and change sounds quickly. The analog drum modules that existed at the time, were focused on cloning existing circuits and did not mix existing designs well. Producers and performers were forced to layer multiple sounds, one for the attack, and one for the sub. Many of these existing products did not have a long enough decay to create bass lines commonly heard in hip hop and other electronic productions, again creating the need for layers, which produces problems in mixing.
THE PROCESS
We started by analyzing sounds from our favorite drum machines, modules and sample libraries. We used frequency analyzers to isolate the “attack” part of modern kicks and quickly realized that the drum sounds in libraries were created by layering sounds like hihats, snares, rattles, and even punching sound effects. We made our own sounds, prototyping in the DAW, and layering samples from analog synths and drum machines with sounds from the examples above and then modelled our engine after those techniques.
THE SOLUTION
What we came up with was a two-part instrument, consisting of an analog synthesizer and a “click” generator. The parameters for the analog section were inspired by the characteristics found in analog drum machines. A triangle wave running through a VCA with an envelope assigned to pitch to create the attack found in the famous 909. We then extended the range of both envelopes, allowing for huge decays similar to the 808 but even further, and pitch drops for huge impact points and sound design candy.
The Click Generator is a digital engine derived from samples. Our analysis of modern drum packs sent us on a mission to create a pack of our own. I created all the click samples in my home studio, recording a real kick drum and other instruments that might have made their way into the samples we used as reference. I processed those recordings as well as recordings from classic drum machines that I owned at the time, isolating the top-end frequencies, to leave room for the analog section to really shine. We added a noise generator and envelope to synthesize sympathetic vibrations that you might hear in the recording of a kick drum.
Our hardware and software engineers worked together to create an analog synthesizer with a sample playback engine. Our team developed and named each parameter to create an intuiotive user interface that gave real-time control over every aspect of the sound. I then had a revelation inspired by samplers. One thing that analog drum machine and drum modules couldn’t do was sustain. They create one shot sounds, but cannot be stretched out any further than the envelope provides. Samplers have a mode called “gate” where the sound is only active for as long as the trigger (gate) signal is present. To synthesize this, we added direct control to the VCA with a fixed envelope down to a desired sustain level, set by a knob. This opened the module up to new possibilities, allowing it to create perfect kicks, huge impacts, as well as pitched bass line sounds for sub frequency content. Since it’s launch, I have been contacted by many artists, producers, and sound designers referencing Crater as a game changer for their sound.
LOOKING BACK
Crater is my favorite kick drum synthesizer on the market, and I am proud to use it in my live house and techno performances as well as in my ambient sound design work. It is an honor to be able to use an instrument that I helped design from the ground up, and that uses samples that I created in my studio.
If I were to design crater again, I would look into other sound sources than just noise for the sympathetic vibrations. Noise was cost-effective, and quick to implement. A sample engine would allow for much more realistic sounds, but it was not able to be implemented due to the budget and physical space requirements of the circuit board.
CASE STUDY
CHIMERA
THE OBJECTIVE
Create an instrument capable of creating realistic tambourine and shaker sounds for electronic music production.
Desired sounds include “classic drum machines”, as well as realistic “sampled” sounds inspired by lattin percussion samples used in house and techno music.
THE PROCESS
We started by analyzing frequencies and envelope shapes of one-shot samples and loops of real tambourines and shakers. After analysis we decided that instead of synthesizing these sounds, we would create our own one shot samples and then design an audio engine to play them back for our desired results.
We prototyped the sound engine using Bitwig’s Grid. After sampling different sample playback engines, we landed on using a granular engine. This was because, even though very short in length, tambourine samples have a ton of content. The transient is important, but it’s the details found in the decay of the samples that we found really interesting. Granular allowed for stretching of these samples which ended up pushing the sound design capabilities much further than the original scope.
Once the engine was decided, the software engineer started coding and I began recording samples. I rented a recording studio with an iso booth and a great microphone collection. After sampling a few mics, I decided on a few for parallel mic’ing. I then recorded upward of one thousand samples. We recorded a few different tambourines and shaker instruments from all over the world as well as a bucket of drill bits, glass breaking, and so much more. Special attention was paid to mic technique, gain and eq, while recording these samples. Proximity effect and the surfaces we used to bang things on could have been a huge problem for these samples and that was avoided by carefully listening in real-time and playback, making adjustments when needed.
The hardware for this module was fixed, we were given six knobs, and two switches. I worked closely with the software engineer and design team to assign the most intuitive parameters, and give them names. After pairing down to the essential few controls that allowed for maximum control, we had a switch left over that we decided to use for effects which really give the module a new unique character beyond simple tambourines and shakers.
THE SOLUTION
When designing and deciding parameters, we found that we had created an instrument capable of one shot sounds ranging from simple tambourine and shakers to sky ripping sci-fi effects, all achievable with a quick turn of a few knobs. One thing we weren’t yet happy with was the ability for the module to sound like a loop being played back. After playing with the prototype for a few hours, I learned that I could synthesize this by sequencing velocity. We added a new mode that automatically recreates this sequence, allowing the user where the accent should fall and that finished up the module!
LOOKING BACK
Chimera was the first of five drum modules WMD has created. It is still one of my favorites and will never leave my modular synthesizer system. I used it in every patch I do, whether a dance track or a sci-fi soundtrack, I can always find a place where it fits.
For our first effort, I think it was the perfect example of turning sound design into an interactive instrument. I honestly don’t think I would change a thing about this module if I had the chance.
We made a conscious decision to limit the module to our samples, and not let users add their own. Some people wish we had offered that but I am still firm on our decision. Not only would that create a customer service point, where we have to support teaching people how to craft samples specifically for the engine, it would have also taken away from the modules signature sound, which I now hear in records and sound design from all over the world.
CASE STUDY
THE OBJECTIVE
Compose original soundtrack, and design sounds for "the world's most boring video game", Waiting in Line 3D.
In the game, you as the player wait in line, but the line never moves. You must punch yourself to stay awake but careful, too much of that, and you'll die, never seeing the end of the line. SPOILER: The line never moves and the score never increases.
This game was used to promote an original song for my electronic music project, Mancub. The director and I worked closely on deciding which song would fit the game and decided to go for something new, made just for the game. the result was "Friends Listen", which had a sound reminiscent to 8 bit music while being a bit more ethereal and psychedelic.
The game is based on early video games like Doom, and titles from the original Nintendo system.
THE PROCESS
I used a Casio keyboard and processing to create the sounds for the menu and the transitions, as well as the game-over sounds. I felt this fit the request for 8-bit well, while making something new and original.
For the Song, I used bits and pieces from the Casio to tie it to the menu sounds, but then created the rest of it using synths, drum machines, and my own vocals.
The lyrics are "stop waiting, get off your ass and go get it", a hint to the game's intention which was to motivate the player with unending frustration.
LOOKING BACK
I was so honored to work with Rajeev on this project, who has done some amazing work, commenting on common tropes of modern society like hurry-up-and-wait culture, big data, surveilance, hacking, and more.
The game got over 30 million plays in a matter of weeks and gained coverage from major media outlets like Wired, Popular Mechanics, and more. My song got tons of coverage and plays, but looking back, I wish we could have capitalized on that a bit more, converting players into real fans, by offering more obvious links to the music page.
CASE STUDY
TED GLOBAL - Public Sphere
THE OBJECTIVE
Create a unique sound accompaniment to a motion graphic inspired by 8-bit video games and the 80s era. Responding to the creative brief while providing a quick turnaround of only a few hours was the main ask for this project. Sound design and original music were required.
THE PROCESS
I was provided with an 8-bit-inspired sample pack of one-shots and the movie file. For the sound design, I used a mix of some of the sample pack sounds and created original jump and movement samples using analog synthesizers and drum machines. I matched the sounds to the picture, creating the story that the characters were telling, and using vintage video games as my inspiration and reference. I processed the samples to match the desired era and sound quality.
For the soundtrack, I composed an original loop using a vintage Casio keyboard. With the quick turnaround request, it was a huge time saver to use Casio’s built-in drums and sequencer. This matched the creative brief while saving time. I added a bit of saturation to push the vintage feel desired in the brief.
LOOKING BACK
I created this piece at the beginning of my sound design career, but I believe that I matched the creative brief perfectly while turning around the project in the time allotted. I received no critical feedback, the piece was immediately approved, and the client used the sound I delivered for their event which was both, in-person and an online broadcast.
If I were asked to do the exact project again now with the knowledge I have gained through the years, I would back off the saturation on the music and sound design. It feels a bit gritty, and not so vintage. I also would choose to mix some of the sounds down, and eq the high end to fit the mix more cohesively and sound more like playing a game than watching a video.
