This sample is from the second song of a three-song set performed by Muutos at the Gospel Savo event in 2009. The electronic drums were only available as a stereo mix, limiting the ability to balance them optimally. All other instruments were recorded on separate tracks.
Volume automation was applied to even out the dialogue dynamics, ensuring clarity and distinction. While not aiming for realism, this approach prioritizes a focused delivery of the message.
The music mix was tailored to support the dialogue, with the soundfield centered and reverbs intentionally darkened to avoid frequency masking.
I also served as recordist on several shoots and cleaned the recorded dialogue tracks, removing noise and disturbances from the raw footage.
The video was created to enhance the chill-out area of a party (Satiini). designed for continuous playback and centered around the event’s theme.
Source material was sourced from public domain archives via Archive.org, with additional scenes from the Pinguin Ice Cream commercial by Harry Egipt.
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The show was produced by Blind Frame Productions and performed at the Solid Tricular LAN party. Inspired by sci-fi classics like Star Wars, Terminator, and Transformers, the second half featured a lightsaber battle.
I reviewed existing lightsaber sounds but found them insufficiently menacing and too rigid for the show’s needs, so I created my own.
Using Plogue Bidule, the core sound combines PWM sawtooth and synced sawtooth waves. Pulse-width modulation envelopes produce the ignition effect. This waveform passes through multiple filter banks adding subtle distortion, with the centerpiece being a custom monophonic formant filter. The final sound layers three distinct elements.
Movement sounds derive from processing the core signal through additional filters mixed with an amplitude-modulated copy. This creates an “energy field” effect, blended with the original via a crossfader. The crossfader and other parameters are controlled in real-time using a MIDI keyboard modulation wheel.
Though initially planned as a prerecorded track, I manipulated the sound live during the show for greater responsiveness. Contact sounds are variations of the core process, also triggered via keyboard. Beyond lightsabers, I designed many other sounds for the production.
This sound design wasn’t meant to imitate the originals but to create a unique, powerful sonic identity—and it sounded incredible through the party’s PA.