Effects Overview: - UltraPitch, Renaissance Bass, Doppler, L1 Limiter, Enigma, Soundshift, Morphoder, VEQ, Doubler, Trans X, Linear Phase EQ, Metaflang, Renaissance EQ, Supertap, S1 Imager, S1 Shuffle, LoAir, GTR Tool.
In the opening sequence I have used a lot of pitch manipulation utilizing the UltraPitch and SoundShift effects. I have applied these processes to such samples as the snoring, Gas Stove, Puma, and edited sections from all of the car recordings, to make a large amount of engine noises. Also I have used Doppler on the engine rev/fire sounds to give an accurate portrayal of perspective while the camera moves through the cars. RBass and L1 Limiter were then used to lift up the low end frequencies and smooth out the final sounds.
A pitched down and reversed sample of the dragster and plane fly by, was used for the transition into the wing mirror. This is followed by the flashbulb sample that has been manipulated using the Morphoder plug in to give the sound a more warped and uncomfortable feel. I have also added in pitched down versions of the bullets sample, with the finally impact section of the recording edited out.
For the upside down car scene I have opened with the cannon and windscreen samples. These have been transformed using the Soundshift and Engima effects. I wanted to use the windscreen sound to suggest at a head on collision, but felt that a too cleaner version of this wouldn't fit with the visuals. This is why I have used Engima, to almost bend the sound out of recognition but still have the impact of a head on crash. As the camera starts to move outside of the car I have introduced the metal impact, scrapes, and bends sounds as well as the Glass and rock samples which have been transformed using the LoAir effect, to synthesizer the sounds. Again such effects as the ones mentioned above have been used but I have also treated the recordings with the MetaFlang and Supertap effects. I have used these processes to warp the sounds further in order to fit with the slow motion visuals and the stereo spread offered by the Supertap fits well with the wide shot of the camera.
When outside the vehicle I have used the the VEQ to apply a low pass filter on the crowd sound, which has also had the S1 Imager and a reverse reverb applied to it, I have done this to give the impression of what the driver may be hearing. Another sound in this section which I believe works well is the Ice Cracking recording, for this sound I have manipulated it used the GTR Tool. Using this plugin I have been able to distort, EQ, pitch shift, and apply delay all in one. This sound has been used to portray the groans of the car and also falling debris.
As the camera transitions through all of the debris I have layered up a variety of different versions of the glass and bullet samples. Each version has been EQ'd differently and been manipulated to different pitches.
As the camera moves into the final car I have used the dragster, nascar, fly by and "SccaRacing" samples to emphasis this movement. These sounds are then joined with the Church bell, Thunder, Chimes, and whooshing sounds to complement the flash of the final text and graphics. All these sample have been processed using a combination of the SoundShift, RBass, and Doubler, among others. I have also used the Trans X on some of the whoosh and Church Bell recordings to help highlight the sustain of these sounds.
Finally the Engima was used for the glitchy type sounds at the beginning and end of the video, and I also applied a L1 Limiter to the master track.