Audio Post 203: Pro Tools SFX Editing & Sound Design - Vehicles

Main ideas / lessons conveyed

• Live class logistics & audio monitoring

  • The instructor discusses a quick test using an OBS side-chain compressor to prevent mic feedback/doubling when playing back audio through speakers.

• Editing sound effects for film (vehicles)

  • Focus is on building vehicle sound design in Avid/Pro Tools for a short film scene, after dialogue cleanup and background preparation are already done.

• Organization & routing discipline in Pro Tools

  • Use routing folders/track structure to quickly mute groups (dialogue, backgrounds, etc.).
  • Color-code tracks for quick visual identification (e.g., bike vs truck).
  • Keep vehicle sounds separated into track “groups” (e.g., motorcycle set vs truck set).

• Mono vs stereo guidance (practical mixing intent)

  • Sounds tied to the screen / actions generally go mono, then can be panned for a cinematic feel.
  • “Bigger” or more spacious sounds can be stereo.
  • Maintain consistency so the mixer can understand the track sets.

• Action design principle

  • For action sequences, aim for “one primary sound per shot” (possibly layered, but not overloaded) to preserve clarity and excitement.

• Sound selection from libraries vs recording your own

  • High-quality libraries (example mentioned: Pole Position) provide realistic vehicle recordings with multiple mic perspectives.
  • If you want maximum realism and have time/budget, record your own; otherwise buy/library sounds and then edit creatively to match the story.

• Continuity & realism checks

  • The instructor flags continuity issues (e.g., tach position / RPM expectations) and compensates by selecting other takes or re-lining engine ramps.

• Editing techniques

  • Frame-by-frame placement to sync actions (doors, ignition, shifts, rev ramps, tire squeals).
  • Use markers to label segments (e.g., “sound design,” “ignition,” “engine start,” etc.).
  • Crossfades / checkerboarding: split and alternate/exchange takes across A/B tracks for smoother transitions and flexibility.
  • Use ramps for engine behavior (idle → rev → drive under load), rather than a short “blip” for sustained pedal moments.
  • Use pitch shifting to create variation and fit engine intensity.
  • Add layered elements like springs/cushions (for entering/sitting), key clunks, gear “crunks,” gravel, skids, peel-outs, etc.

• Perspective matching (POV vs exterior)

  • POV changes determine whether interior vs exterior mic perspectives are used.
  • For stereo content, perspective/panning is matched so the sound “reads” correctly relative to the camera viewpoint.

---

Methodology / workflow (detailed bullet points)

Setup / test

• Use OBS side-chain compressor to automatically “duck” mic audio when playing Pro Tools playback to avoid feedback/doubling.
• Run a short test:
  • Play audio, talk, confirm ducking works.
  • If it doesn’t, switch to headphones.
• Be mindful of echo issues when speakers are picked up by the mic; toggle sidechain accordingly.

Prepare the session structure

• Start from an existing setup where:
  • Dialogue scenes are already cleaned.
  • Backgrounds are added on appropriate A/B tracks.
  • Some spot backgrounds (and block backgrounds) are already edited.
• Remove/close background folders as needed to focus on new work.
• Create a new basic folder for the vehicle sound design section.
• Create two main vehicle track sets:
  • Truck set
  • Bike (motorcycle) set
• Create tracks with intended channel formats:
  • Example allocation used: truck = mono + stereo, bike = mono + stereo
• Send to a 2-bus and color-code tracks (e.g., bike red, truck silver/brownish).

Build vehicle sounds shot-by-shot

• Identify where the first clear event occurs in the timeline (e.g., door open).
• Spot and layer only when needed, keeping most events tied to the vehicle tracks for easy director/mixer review.

For each action:

• Door open/close

  • Choose appropriate door opens from the library.
  • The instructor may swap brands/models if realism/action match requires it.
  • Layer supporting details as needed:
    • handle release, bump, seat/inside scrunch, suspension/spring balance, etc.
  • Place layers a few frames apart so the physical sequence feels right.

• Ignition / key turn / starter

  • Add key-on/ignition elements (sometimes only a left channel from stereo sources).
  • Add a small pre-click if timing must feel instantaneous.
  • Cut/position ignition to match camera action.

• Engine start

  • Replace “blips” with sustained ramps when the scene shows a prolonged pedal/start/load.
  • Consider engine behavior: no load vs under load.
  • Insert cuts/jump cuts to maintain excitement and sync changes.

• Gear shift

  • Use gearshift/shift sounds.
  • If too soft/bright, try alternatives.
  • Add punch layers if needed (e.g., leather punch / clunk) to make it bigger.

• Tire activity

  • Add tire squeal/skid/gravel/peel-out elements.
  • Use mono for some exterior impacts; use stereo when it helps texture/perspective.
  • Delay/re-time elements with trims so shift and tire sounds don’t smear together.
  • Layer (e.g., grit + peel + skid) when it improves size and realism.

• Differentiation across POV

  • Interior vs exterior mic choices depend on camera POV.
  • For the same vehicle event, select different recordings that match mic placement.
  • Keep continuity by using consistent mic “families” across similar shots.

Continuity & selection from library takes

• If RPM/tach behavior doesn’t match what’s visible:
  • Find a different take in the library.
• Common approach:
  • Insert a broader full engine file, then select the best pieces later.
  • Use search/filter terms (e.g., typing “Fast”) to narrow candidates.
  • Refer to library takes where mic positions align well in time.

Organization for the mixer

• Checkerboard/split tracks into sets so the mixer can quickly identify:
  • mono set vs stereo set,
  • intake vs exhaust vs engine components.
• Maintain consistent track order (e.g., intake above, exhaust below).
• If raw library files include ticks/noise:
  • Run cleanup steps (the instructor mentions “de-crack” / sending to process).
• If a sound doesn’t add clarity:
  • Cut and mute rather than forcing it.

General mixing intent (kept for later)

• The instructor focuses primarily on:
  • timeline sync, perspective, cuts, and clarity for auditioning.
• Decisions like EQ/reverb/levels are largely deferred to the final mix stage.

---

Notable Q&A points included in the subtitles

• Can you put sound effects onto PFX?

  • The instructor says no: PFX is for production effects; sound design should remain in sound design tracks.

• Editing sound effects vs Foley overlap

  • If working as a team, whoever supervises decides coverage.
  • Even if Foley will cover something, cutting an additional option can still help the mixer/director.

• Doppler / surround panning while designing

  • The instructor pans during placement to avoid everything centered.
  • Deeper spatial/mix decisions (EQ/reverb/volume) are saved for mixing.
  • Doppler methods mentioned:
    • Waves Doppler
    • pitch ramps / pitch shifting approaches (including tools like iZotope in context)

• How to reverse stereo left-to-right

  • Drag a stereo file to two mono tracks and flip the right channel to invert direction.

• Centering mono sound effects

  • Use a shortcut/automation lane/panner actions (briefly described in class).

• Are you supposed to know vehicle mechanics to do this well?

  • Not strictly, but it helps:
    • Look up engine/transmission details (example: Wikipedia) for realism.
  • You can still design convincingly without deep technical knowledge.

---

Speakers / sources mentioned

Primary speaker

• Unnamed YouTube live-stream host (instructor discussing Pro Tools, OBS testing, and sound design workflow).

System / software / tools referenced

• OBS (side-chain compressor setup)
• Avid Pro Tools / Pro Tools
• Soundly (library search/translation and browsing)
• Pole Position (vehicle sound libraries)
• asoundeffect.com (vehicle sound libraries referenced)
• Waves Doppler
• iZotope (mentioned in context of pitch manipulation tools)
• Soundly translation behavior (as described by instructor)
• Facebook (used for giveaway contact)

Website / project sources referenced

• Instructor’s website (AAF + video link mentioned)

Library / vehicle references (examples used in the class)

• Chevy Avalanche / Chevy small-block / old 327
• Touring motorcycle around 650cc (approx.)
• Ford F-150 (door sound selection example)
• 1990 Ford LTD station wagon (engine/exhaust/intake library selection)
• BMW i3 (electric car/tire-related library example)
• Honda 650
• Suzuki Bandit
• Triumph adventure bike
• BMW K100 (engine CC mentioned ~987cc)
• “Simpsons one” / Simpsons-style gun sound (joking reference)