Thanks to everyone who participated in the Sound Designer’s Telephone Game. It was great fun and in the spirit of Social Sound Design.
The Sound Designer’s Telephone Game started with a field recording of mine which was passed onto thirty people who had volunteered to participate. Each person was permitted to add only one effect. No one knew what the sound was like before they received it and what it would mold into later on. The point of the game was to see how the sound would evolve as it was processed.
what happens to a sound digitally whispered 30 times?
So what was the original sound? Any guesses? The sound is nothing special, just someone packing huge beer kegs into a truck. I thought it would work well as a starting point because it is percussive and has some good resonance, but right from the get-go the sound went in an unexpected direction.
The sound has traveled to all corners of the world (well I’m assuming) and even been taken out of the digital realm and through a Moogerfooger, and re-recorded under water with a homemade hydrophone.
Here is the original sound, recorded on a Zoom H4n and the on-board mics:
You can download all thirty-one sounds plus a track listing [mp3; 11.2MB]
The playlist below is all the sounds in chronological order with the name of the participant and the effect used:
Participants in order + effect used
01. Brian Green:
“I reversed the sample”
02. Edu Comelles:
“I used an effect from ableton live called “chorus”, took away some feedback and left what you can hear, almost like a convolved thing.”
03. Joel Corriveau:
“I used Logic’s Ringshifter. I automated parameters, but didn’t use it’s built in delay.”
04. Hadrien Bourely:
“Pan automation”
05. David McSherry:
“I subtly mashed it through a Moogerfooger MF-101 low pass filter (hardware)”
06. Flemming:
“Audacity’s reverse”
07. Tom:
“500ms cross-channel echo”
08. @Watterberg:
“This uses a custom panning and frequency shifting plugin I’ve concocted myself”"
09. Dan Mackinlay:
“Ableton live’s “Corpus” – which is some AAS physical modelling doohickey”
10. @Joshliebe:
“I used SSL X-Orcism on the sample -
turned down the howling and tombverb, and then adjusted the other
parameters.”
11. Glenn:
“I ran it through a vocoder of a synthesized tone.”
12. Robert Newman:
“I used the Sweeping Phaser in Adobe Audition.”
13. Josh:
“Plugin: Audio Damage: Ratshack Reverb v 2.0
Made a macro where one knob controls mic level, delay, repeats and depth. Then automated that macro to give the audio a groove. Then while playing back the automation I am manually adjusting the min/max values for the delay parameter in the macro so the range changes over time.”
14. Hugo:
“I used Reaktor with the GrainStatesFX ensemble. Officially it’s not just one effect, but it’s one plugin”
15. Mike:
“CrossFilter_Short (Kyma)”
16. Marcio:
“Basically, I put an Autofilter in an aux bus, and during the 1st half we only hear the effect. Then, the automation gradually closes the pre-fader send, the volume rises and we have the “original” sound again.”
17. Martin:
“I used the “Resampling” effect from DtBlkFx VST (http://rekkerd.org/dtblkfx/) to apply pitch shifting on a spectral level. I automated the shifting, so it goes up and down again.”
18. @ivsound:
“I went with a simple reverse quad delay (applied to the beginning of the sound in reverse.) then gliding pitch-bend”
19. Joe Still:
“Monstercrunch from the Pluggo pack”
20. tj milian:
“one effect: grain delay in ableton live.”
21. Rob:
“Ableton Live: added Corpus 17% wet”
22. Laurence:
“all I did was change the pitch on one of the tracks so that the difference ( when played through head phones and looped) you would get a binaural effect, a carrier wave would be produced in your head of about 10 hertz, I think this is in the lower theta or borderline delta wave. ”
23. @misterinterrupt:
“Steve Harris L/C/R Delay”
24. Erik:
“Its a reverb with variable size and width”
25. Toby:
“Re-recorded underwater”
26. Nathan:
“Audiomulch’s (http://www.audiomulch.com) “5Combs” filter to the right channel, leaving the left as I received it.”
27. Miguel:
“Just process the sound in Reaktor with a Delay ensemble. This one has a delay unit modulated by 2 LFOs . The main effect works in the frequency that is modulated by LFO 1 and the LFO 2 works in the stereo field, placing the sound from left to right and conversely.”
28. Stuart Smith:
“I used a custom Max/Msp patch using only 1 effect – FFT Fast Fourier Transform.”
29. Jason Job:
“I used Camel Audio’s Camel Space plugin.”
30. @themelissard:
“Soundhack’s Varispeed”
[photo by Marcia_Salviato; artist David Mach]
a Q&A site for sound designers
Great sounds everyone, I especially like #9, #10, and #26.
Well. That’s amazing. I just listened to the lot and was blown away. Here’s a knobbly question – “Can we use these sounds in our own pieces, without having to worry about copyright?” And another question … can we keep going? I’d like to add an effect.
Wow, that was fun!
Next time I will be more radical!
Thanks Edwin. Feel free to use any sound you want in your own work. All sounds from { sound + design } are under the Creative commons 3.0 license http://creativecommons.org/licenses/by-nc-sa/3.0/.
Are you okay using mp3s? If there are specific sounds you want, just let me know and I’ll send you the higher quality version. Haha, I’d like to keep going but it’s super time consuming. And I have a bigger idea (similar-ish) on it’s way, which I’m focusing on.
Glad you had fun Rob. Thanks again for participating!
Yeah! This was super, every one has such great ears! If it happens again, I think that it would be cool to consider the text that people provided about how they effected it. It would not reveal the full telophony, but might encourage even more different effects / processes. Yay! -Matt
Love that!
Would love to participate next time.
Great Alex! Keep in touch.
Hey Matt, I was debating it, but decided to keep it hidden as I think It’s a good way to see how people interpret a sound. Oh well, maybe next time we can try it.
A bunch of kegs being loaded… I’d never imagine that!
D
Anyway, I loved being part of that chain, and the whole idea and creative inputs each one provided were great!
Count me in on the next project! And I’m relaying this post on my blog as well (it’s in Portuguese, but there’s an automatic translation tool on the sidebar).
Congrats, Andy!
Wow, I am amazed! What a super interesting project!
I would LOVE to be a part of the next one, if you need anymore volunteers.
Thanks for the comment Scott. You can join the fun next time!
It would be great if we could use a common language to describe the algorithms of sound design – structured audio language for DSP http://www.cs.berkeley.edu/~lazzaro/sa/
Unfortunately, “re-recorded underwater” and “used a custom Max/MSP patch” are less than ideal for reproduction.
Once we have a language, he can have a history, revisions, and diffs of everyone who contributed to the construction of that sound. Imagine being able to tweak a parameter from the past to adversely affect the present sound…
Hey Ash, I think what you’re talking about is MPEG-7, which attempts to do just that. So if I understand what you’re saying then we’re definitally heading the right direction. http://www.chiariglione.org/mpeg/standards/mpeg-7/mpeg-7.htm
Very inspiring. You should maybe start a site just for this. I want to play too! #15 sounds like an intro to a Radiohead song.
Hi Abhijit, that would be excellent. I wish I had more time to do it! Thanks for the comment.
Subscribed to your RSS (bloglines says I’m the only subscriber so far, but I have a feeling this won’t be for too long). Good luck, Alex!
Oops. I meant to say Andrew. *redface*
Sorry for the multiple comments. Off now. FOREVER.
Bloglines must have some issues tracking subscribers… Thanks for subscribing, and welcome to the pack