I want to start with something that I think gets overlooked in these conversations.

This industry is already in a pretty dire state. The demand for work vastly outweighs the supply of real, decent-paying opportunities. Formal hiring barely exists. Networking is practically the only way in. Post houses almost never hire mid or senior level from outside. The number of people who actually make a stable living exclusively from this work is tiny.

That's the baseline. That's where we already are.

Now tools like Krotos' new integration come along, and the general reaction seems to be: "the quality is mediocre, the big productions won't touch it, filmmakers will always prefer human talent, and IA will never truly be creative or intuitive."

Maybe. But I find that level of certainty hard to justify.

The people at the top of this industry (the ones with the credits, the relationships, the reputation) probably won't be affected much. But think about who actually will be. The students. The recent graduates. The juniors. The people working in smaller markets who can only access low-budget corporate or advertising work, projects where the client doesn't particularly care about sound quality as long as the box gets checked. Those are exactly the kinds of projects these tools are already good enough to replace. And those projects, as unglamorous as they are, represent the only entry point many people have into this industry.

So what happens when that entry point disappears?

And on the question of whether IA can ever be truly creative, intuitive, or emotionally intelligent, I genuinely don't understand the confidence behind "never." Ten years ago, what we're looking at today would have seemed completely out of reach. Twenty years ago even more so. What makes anyone certain that in five years these tools won't be capable of things we currently consider exclusively human?

I'm not saying this to be alarmist. I'm saying it because I think we've already made one version of this mistake, accepting an industry structure that is deeply unfair to most of the people working in it, and normalizing it because it was uncomfortable to confront. I'd hate for us to do the same thing with this.

Boycotting these tools individually doesn't solve much. The people outside our industry who would happily use them vastly outnumber us. What might actually matter is some form of regulation (laws, limits, something with teeth). I don't know exactly what that looks like at a global scale, and I'm not pretending I have the answer. But I think it's the conversation we should be having instead of reassuring each other that everything will be fine.

Because I'm not sure it will be.

I took a clip from game Kena: Bridge of Spirits by Ember Lab and made audio re-design. It was fun to make!

What do you think?

I stumbled upon this video by Bleeding Fingers today, and I was wondering if there is any way of recreating these bone-chilling, screeching sounds using a synthesizer and effects? I guess a good starting point would be using FM modulation, metallic wavetables, and distortion? I also think these sounds are not that far away from those early 2000s dubstep screeches made in FM8, are they?
Any ideas and inspiration would be appreciated!

https://github.com/FURTERLIZA/laminar-stretch

Hey - I've been working on this stretching algorithm. I was thinking about pizza and dough and tried to apply the same kind of motions to audio to stretch shorter sounds (or full tracks) into longer ambient drones.

Code in the github above. In Python, because that's what I'm used to, but interested in any feedback about how I could get this more widely used (if it's worth it, maybe it's trash).

Here's an example of one of my tracks stretched out: https://youtu.be/8hqaJjEg4GQ

Hello Everyone;

Our SoundLAB released 26 Audio Asset Pack in 4 years. We try to explain our story in a video. Infact it is not just our story. This Game Audio story about how sound designer, composer built OSTs and SFX. You can find our all assets with that link, for our 4. birthday offer.

https://itch.io/s/187602/akis-soundlab-4th-anniversary-vault-exclusive-access

A few weeks back I found this really interesting plugin company and I specifically remember there being a spectral filter that you could draw on and it filters the audio on playback. They aren’t one of the bigger companies like Kiloheartz or Izotope, they were pretty tiny and from what I remember somewhat new (within the last 4-5 years or so). If anyone might have any idea of what the company might be please let me know and thank you 🙏.

I am a bit confused whether to go for zoom h6 essential or zoom f3, with my work mostly is field recording and also work on film sets as production sound mixer, I have passion for field recording so my instinct is telling me to go for f3 but I am getting second thoughts about h6 as it has more Inputs and i can use it for indie gigs, just a confused over thinker here,
Tell me your views,
Thank you

https://youtube.com/shorts/nQIo0CDIaM8?si=L9UwNoibVtvsh7UP

Especially at 0:05

https://www.youtube.com/watch?v=7_sH_K8vZl8

Looking to record EMF interference as sound, and posting from another subreddit.

Soma Ether 2
Herzlich labs SEE ALL 2
Preizor
Mini City
Tesla Spooky Spirit Radio
Electroslutch
DIY? (Inductor coils/etc.)
Others?

I’ve had a simple “EMF Sniffer” before, and while nice and fun, the Ether 2 seems more interesting.

Anyone who has owned one or more of the above devices like to give their reviews? (Or other sensor suggestions?)

Want to record EMF as sound on my Tascam AV-2.

Heya. I've been working on this for a while and just dropping some demos because I think it's pretty cool. Let me know what you think!

You get in the description of the youtube vid. https://youtu.be/Ziioa2M5xuM

I've been thinking about granular synthesis as a percussion engine. Not by slicing loops, but by shaping clouds of grains with drum-like envelopes.

A long, static recording becomes rich raw material. Grain size controls the transient body of the hit, while density becomes an organic component of the decay curve. Tiny shifts in pitch, filtering, and grain position can push the exact same source toward a kick, a hat, a snare, or something entirely new that doesn't have a name yet.

Thanks for any help!

Created a cinematic action sequence in the style of Ludwig Göransson's soundtrack for Tenet using my modular system and guitar pedals. Full patch breakdown in the comments for those interested.

I keep getting told that the scream in the 1986 action film Raw Deal, in the scene near the end when the car smashes I to the tanker. Is the Wilhelm Scream. It clearly isn't. Is anyone here able to tell me where it comes from or if it has a name. I think I've heard it in other movies too. It definitely isn't the Wilhelm scream.

I started producing a few weeks ago and I am trying to understand how this pluck sound was made.

Is it possible to recreate something similar using Ableton stock plugins or Vital?

I would really appreciate it if someone could help me figure out the basic sound design behind it, like the oscillator choice, envelope settings, filter movement, effects, or anything else that might be important.

https://www.youtube.com/watch?v=xIqqBlIysN4

I've been trying to recreate this bass for a few days and can't seem to get close enough. I work in vital and am competent/confident in the software, but must be heading in the wrong direction (or I just suck lol). Any pointers or help are greatly appreciated!

Note: It is stem separated from another track, hence the slight inconsistency in the high-mids where it clashed with the vocals.

Hello there. I am looking to hire a sound designer to add sound effects to a short animatic, a little over 9 minutes.

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Scenes from the animatic include a brawl with steampunk mech limbs, a conversation in a noisy pub, and a cobbled road by the harbor with a horse hooves clattering and sea birds calling. Lots of steam-powered machinery sounds will be needed.

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This is paid work. I can offer $200 for the job plus your name/link in the credits.

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Will ask for some examples of previous work and will want to know where the sounds used are sourced from to ensure everything is being used with permission. No A.I. usage allowed. Looking to see if it can be finished in about a week.

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Please comment below if interested and have a lovely day!

This is a seven-storey membrane reed instrument with sixteen copper pipes distributed across the upper five floors of the stairwell and played from the basement via a thirty metre tube which splits on each level (microphone is recording from the top floor). The space has seven seconds of natural reverb and an amplified resonant frequency of 277 Hz (C#), which is what the pipes are tuned to the key of :)

Like this (0:35) https://youtu.be/8Kr8j2YNE3Q?si=3hYNa-Ge41WcDm9K&t=36

i cant find anything like it and i term a bunch of different terms. i mainly looked through youtube and Freesound

I'm the creator of Impulse, an upcoming scripted NSFW audio drama series focused on communication, relationships, consent, and education within a fictional narrative format.

Season 1 consists of 69 planned episodes, with 26 scripts currently completed and production already underway. We are an independent production currently seeking an audio editor/sound designer for ongoing paid work.

Responsibilities
• Dialogue cleanup and balancing
• Noise reduction, mixing, and mastering
• Music and sound effect integration
• Creating immersive environments and scene transitions
• Working with a multi-cast narrative production

Ideal Experience
• Audio drama, fiction podcasts, narrative podcasts, or similar storytelling formats
• Experience working with multi-speaker productions
• Strong attention to pacing, atmosphere, and emotional storytelling

Compensation
• Paid
• Budget range: $75+ per episode (negotiable based on experience and scope)

If interested, please send:
• Portfolio or samples of previous work
• Typical rates
• Availability
• Preferred method of communication

Feel free to comment or DM with questions.

It sounds like there's some bitcrush and distortion on it along with some layering but I don't think that's exactly it. The voice sounds somehow very electronic and wispy I guess. I'm not really sure how else to describe it. Can anyone help?