This clip was done in Pro Tools 9 using no plugins aside from the Waves Sound Design bundle. The only DAW-specific effect was the Reverse from AudioSuite. All of the effects were usable and are the majority are audibly present, and all of the plugins from this Bundle are used in this clip.

The idea behind my edit was to create a hyper-realistic environment that temporarily warps into reality, and then quickly shifts back into hyper-reality. In the end, the driver re-enters reality, but in a panicked state, having experienced the collision before him. The plugin I found of the most use was the Doppler plugin, followed by the SoundShift sound pitcher. However, they are all easily represented in this clip.

Now for a detail of what sounds I used and what plugins I used...

*Deep Breathe* Here we go...
------

OPENING TO WHEEL:
Crowd Cheer (Radio Broadcast style)
-GTR Tool Rack - Futz radio
*I went for the perspective of a radio broadcast in the opening, so I used GTR ToolRack to futz this into sounding as such (variant of "Clean Rythm").

Race Track Scramble (Radio Broadcast Style)
-DeEsser - Improve intelligibility
*For the opening, this clip was already futzed for radio enough, but lacked clarity. I was able to use the DeEsser to remove the frequencies that were competing with the fire crackle (above 7kHz) in a compression-style removal. Easier and less noticeable than any EQ.

Sports Cars CU Bys (Radio Broadcast Style)
-GTR Tool Rack - Futz radio
*Just like the crowd cheer, this was futzed for radio using a variant of GTR ToolRack's "Clean Rythm" preset.

Windmill Electric (Overall Hyperreal Space)
-Q8, Enigma - Q8 to shape tone, Enigma to create hyperreal atmosphere
*The Windmill served as a perfect background for the whole clip, but it was too "straight forward" and definitely considered "noise". So I used the Q8 to boost some frequencies and cut others for a more "toned"sound, then used the Enigma's "Always Rising" preset (altered) to completely warp the sound into something seemingly hyperreal.

Fire Small Crackling (Exhaust Flames)
-Q2, RBass - Q2 to automate upper pitch for fire fly-through, RBass for rumble on tire and again on fire fly-through
*This fire was perfect for the exhaust flames of the opening car. By using the Q2, I was able to automate the high-end of the crackle for perspective shifts (outside of the fire, going through the fire, and then back out again). The RBass was also automated to provide a realistic rumble as you pass through the flames, as well as a hyper-realistic rumble for the opening wheel (to enforce the idea that the wheel is hot).

----------------
WHEEL SHOT:
Crush Metal Auto
{Nothing} - To impress upon heat warping metal
*Nothing had to be done with this clip. Just panned for imagery and mixed down to enforce the idea that the heat is warping the metal.

----------------
PAN TO EXHAUST FLAMES:
Man Snoring ("Growl" of Engine)
-GTR Stomp, Sound Shifter, Doppler, L3 - Layered 3 Man Snoring FX with various settings of GTR Stomp's Vibrolo, PitchShifted each differently, applied Doppler for perspective on fly-through, L3 to maximize gain
*Layering 3 different clips of Man Snoring yielded an amazing low "growl" and "rumble" to compliment the "SCCA Racing" effect. GTR Stomp's amazing Vibrolo pedal created the varying pitch and volume needed to replicate an engine. The SoundShifter pitched each of the three in a different way for variance, and the L3 gave me the most gain through limiting for a very "fat" sound.

Scca Racing Int Race ("Hum" of Engine)
-SoundShifter - Pitched down to match warped perspective
*Pitched down the clip to match the hyper-realistic perspective of the engine that was provided by the Man Snoring clips.

Gas Stove Turn On (Fire Fly-Thru)
-[TimeStretched] Morphoder, LoAir - Morphoder to give warped tone, LoAir to improve fly-through rumble
*This short clip was perfect for the fire fly-thru. Time stretched, then used Morphoder to tone the din. Most importantly, I used LoAir to remove the dry signal and produce a purely rumbling tone to accent the fire.

----------------
PAN OVER CAR:
Cymbal Single Hit (Hyperreal Feel)
-[Reversed & ButtCut] Q1, H-Delay, SoundShifter - Q1 to shape tone down, H-Delay for hyperreal feel, SoundShifter to pitch down slightly
*I reversed the Cymbal Hit and butt-cut it to itself. I then used the Q1 to remove some of the highs, H-Delay to give it some hyper-realistic space, and then SoundShifter to pitch it down slightly so that it was less bothersome and fit the mix better.

Cannon Blast ("Whoosh" Over Car)
-[TimeStretched] UltraPitch3, Doppler, L2, TransX, Q1 - UltraPitch to lower pitch and add higher voices, Doppler for perspective, L2 to maximize gain, TransX to shape transient, Q1 to shape tone
*First, I Time Stretched the Cannon Blast. I used UltraPitch to add some higher voices to the sound. The Doppler plugin was amazing at creating a flying perspective, the L2 helped me to maximize my gain, and the TransX helped smooth the transient to turn a BLAST into a WHOOSH. The Q1 was finally added to accent the low end.

----------------
Climax:
/Start
Dragsters By CU Fast
-Doppler, S1 Imager, LnEQBrd, RComp - Doppler for perspective, S1 Imager to fill the now-empty space, Linear Phase EQ to give engine more "growl", RComp to maximize gain
*For the brief entry from hyperreal to reality, the Dragsters was a great clip. The goal was to break the silence by filling it completely. I used Doppler to enhance the already-present doppler image, the S1 Imager to widen the space even further, the Linear Phase EQ to add a low growl to the engine, and RComp to maximize gain in the mix.

/Cameras
Flashbulb Pops with Glass
{Nothing}
*Pretty simple...flashbulb pops to match those on screen.

Cannon Blast
-VEQ3 - VEQ3 for underlying impact
*The Cannon Blast was necessary to continue the already high-impact collision. I put one under each flashbulb pop to accentuate them. The VEQ3 was a simple way to accent the low end of these blasts.

/Tire Squeal
Slalom Tire Skid Pan
-SoundShifter, Super Tap 2 - Soundshifter to lower pitch, Super Tap 2 for ethereal space
*The basis for the tires was to pitch the Slalom Tire Skid effect down (to match the re-entered hyperreal space), and the Super Tap 2 to further enhance this re-entry.

Pig Squeal
{Nothing} - To add high end/edge to tire squeal
*The Pig Squeal added just enough edge to the sound to lightly accentuate the tires skidding on pavement, bringing it up through the mix.

/Collision
Moving Vehicle Collision
-C4 - To maximize collision impact
*This would have been unusable without multiband compression, and the C4 was super easy to implement here.

Windshield Shatter
{Nothing}
*Essential to complete collision image.

Glass Break
-H-Delay, H-Comp - H-Delay for illusion of more glass, H-Comp to bring up into the mix
*The Glass Break effect was great, but for the mix it was too dry and too unpredictable dynamically. So I used the H-Delay to push it back in space (and to match the hyperreal space) and the H-Comp to even out the dynamics for a more maleable sound.

Big Rock Hits
-L3-LL, RBass - L3-LL to maximize impact, RBass for subharmonic rumble
*I used the L3-LL compressor to really beef up the impact of this sound. With the RBass added for subharmonic rumble, it completed the whole collision by adding enough low end to match the highs previously supplied.

----------------
Slo Mo:
Heartbeat
-GTR Tool Rack, RBass - GTR TR to invoke hyperreal space, RBass for added low-end
*A very stereotypical sound, I'd originally resolved to not use this one. However, after briefly tinkering with the GTR Tool Rack, I found an amazing way to use it in a non-ordinary way. Using a modified version of the "SprayBurst" preset, I gave it more of a "clock ticking" tone. This "time is ticking" method gave it more of a "make a decision now" attitude, and less of a "freak out" attitude. The RBass emphasized this, and range through very nicely.

Dry Ice Eerie Double
-Morphoder, LoAir - Morphoder for hyperreal space, LoAir for added rumble
*This clip was great by itself, but quick use of Morphoder's "Oager" made it even more memorable, with LoAir slightly added to compliment the lows.

Ice Cracking Squealing
{Nothing}
*Simply used to fill the background and compliment the fly-bys. It was great as it was in creating a "parts flying everywhere" feel.

Crush Metal Auto
-Morphoder, L1, MondoMod - Morphoder for hyperreal space, L1 to smooth out transients, MondoMod for hyperreal space
*This was the same as the above two, only I used Morphoder's "Dark Shadow" preset, MondoMod's "Stereoette" to vary the space over time, and the L1 to compress it all to match.

Old Klaxon Horn (Engine Hum)
-[Mangled] SoundShifter, Doubler2 - Took Klaxon, looped out the middle, Soundshifter to lower pitch, Doubler2 to give it space
*Definitely the biggest surprise of the mix, the Old Klaxon Horn served perfectly as an engine hum during the Slo Mo fly-thru for the wrecked car. I used SoundShifter to pitch it all down (just as I did for the car in the opening) and Doubler 2 to give it a less-dry space.

Whoosh Female Breath (Flying Glass)
-REQ6, UltraPitch3, Doppler, VEQ3, SoundShift - REQ6 to remove high ring in sample, UltraPitch to multi-voice sample, Doppler for perspective, VEQ3 to EQ each sound differently, SoundShift to pitch them up and down
*All of the glass fly-bys were done individually, showing the varying capability of the Doppler, UltraPitch, and SoundShift plugins. Doppler was, by far, the most phenomenal plugin to have for these perspective shifts as shards flew by. A very tedious job turned amazingly simple.

Cannon Blast (Tire Fly-By)
-[Reversed & ButtCut] UltraPitch3, Doppler, L2, TransX, Q1 - UltraPitch to pitch down, Doppler for perspective, TransX to smooth transient, Q1 to eq lows up
*For the tire's fly-by, I used UltraPitch to add some lower and upper harmonics to the sound, Doppler for the perspective shift and L2 for compression. The TransX was required to turn the BLAST into a WHOOSH, just as the whoosh in the opening. The Q1 did the final toning of the sound.

----------------
Re-Entry:
/Start
Church Bell Ringing
[Reversed & ButtCut]
*Simple edit.

Gnat By Low Fast
-LnEQBroad, RComp - Linear Phase EQ to add low "growl", RComp to maximize transients
*I used the Linear Phase EQ to add some rumble and body to the jet fly-by, and then RComp to even out the dynamics so I could turn it higher in the mix.

Nascar Racing By CU
{Nothing}
*Very simple edit.

/Impact
Gas Stove Turn On
-SoundShifter, RBass, Super Taps 2 - SoundShifter to improve low end, RBass to then emphasize subharmonics, Super Tap to draw out resulting rumble
*This was a great sound to create the impact of re-entry into the car. The difficulty was making this short sample last. But with the above combination of plugins, it was made very easy.

Cymbal Single Hit
{Nothing}
*Simple edit.

Bull Impacts Wood
{Nothing}
*Simple edit.

Cannon Blast
-VEQ3 - VEQ3 to add low end
*This was the heart of the impact, and I used VEQ3 to make it more impressionable.

Door Push Bar Wood
{Nothing}
*Simple edit.

----------------
Outro:
Scca Racing
-MetaFlanger, REQ6 - MetaFlanger for delirious imagery, REQ6 to give engine more "growl"
*The idea of creating a "back to reality, but now I'm delirious" feeling was made possible with the MetaFlanger. It gave a way to quickly take the raw engine hum and tweak it so that it seems half real, half hyperreal. The REQ6 gave the engine more body.

Race Track PA Scramble
-DeEsser - Improve intelligibility
*This was the same as in the beginning of the clip.

Sports Cars CU Bys
{Nothing}
*This was the same as in the beginning of the clip, except there was no need to futz a radio broadcast, so the raw clip worked great.

Puma Cougar Growl
-Morphoder, LoAir - Morphoder to mangle sound, LoAir to bring out rumble only
*After morphing the Thunder Crack (below), I felt the rumble didn't last long enough. By using Morphoder's "Oager" setting (altered) and then LoAir to remove all of the direct signal, the resulting rumble was perfect to extend the life of the thunder roll.

Thunder Crack
-LoAir, Super Taps 2, RBass - Layered one dry effect with one modified effect. On modified Thunder Crack: LoAir to produce rumble, Super Taps to draw out rumble, RBass to tone rumble
*I layered this sound so that I had one fully dry sound, and one fully wet sound. The wet sound was (as mentioned above) turned into a pure rumble.

Crowd Cheer
{Nothing}
*With no need to futz this perspective (unlike the beginning of the clip), this was used as-is.

Female Whoosh
-REQ6, UltraPitch3, Doppler, VEQ3, SoundShift - REQ6 to remove high ring in sample, UltraPitch to add other voices, VEQ3 to tone, SoundShift to shift pitch up/down
*There was a series of whooshes underneath the title card that was created using a combination of the above effects. This gives the whole clip a mysterious feel, and is a very nice contrast to the otherwise loud and in-your-face trailer.

----------------
MASTER
-Linear Phase Multiband
*The LP Multiband was perfect for the final Master bus, equaling out all of the mix into a final, balanced mix.

I also did use the PAZ tools throughout to meter and the like.

CONCLUSION
Used MOST of the effects.
Used ALL plugins.

Thank you for watching my cut! And thank you for reading all of that detail! I appreciate the fantastic opportunity to be a part of this contest! I hope that I've represented Waves well.

Loading more stuff…

Hmm…it looks like things are taking a while to load. Try again?

Loading videos…