Contests Hybrid Animal Sound Design Competition Logo

Published on April 15th, 2014 | by David Forshee

Hybrid Animal Sound Design Competition Winners

Thanks to all that par­tic­i­pated in the first ever (to our knowl­edge) Hybrid Ani­mal Sound Design Com­pe­ti­tion! There were nearly 190 incred­i­ble entries from many very tal­ented sound design­ers. We were beyond impressed with the cre­ativ­ity and enthu­si­asm on dis­play in the competition.

The win­ners took home over $6,000 in prizes from Avid, iZo­tope, Rode Micro­phones, and Pro Sound Effects. Thanks to our spon­sors for mak­ing the Hybrid Ani­mal Sound Design Com­pe­ti­tion such a success!

Grand Prize Win­ner – “Cicadagoat” by Bal­asz Barna

cicadagoat2 1024x605 Hybrid Animal Sound Design Competition Winners

Cicadagoat” image by Chris Lyon of Peren­nial Media

The Grand Prize Win­ner Bal­asz Barna was cho­sen by Ken Skogu­lund (award win­ning re-recording mixer), Ric Viers (sound designer, author, and sound effects pro­ducer), and our very own Dou­glas Price (founder and pres­i­dent of PSE) for his “Cicadagoat” sound design.

Bal­azs cre­ated the imag­i­nary Cicadagoat using ”Domes­tic­Sheep” from the Rare Ani­mals Sound Effects Library and record­ings of cicadas in his garden.

Listener’s Choice Award – “Wal­ruse­ale­phant” by Stef Arseneault

The Listener’s Choice Award goes to Stef Arse­neault for his “Wal­ruse­ale­phant.” Stef not only man­aged to accrue over 697 unique votes, but he cre­ated an incred­i­ble sound design wor­thy of the next Hol­ly­wood block­buster! Stef used this Antarc­tic Fur Seal from the Rare Ani­mals Sound Effects Library in his design. Take a lis­ten to his Wal­ruse­ale­phant below:

Listener’s Choice Runner-Up Award – “Noct­fox­i­cada” by Dan Crislip

The Listener’s Choice Runner-Up Award goes to Dan Crislip for his “Noct­fox­i­cada” that man­aged to earn 591 unique votes!

Here’s what Dan says about his process in cre­at­ing the haunt­ing Noct­fox­i­cada:

I found this Cicada sam­ple from the Rare Ani­mals Library.  It had so much vari­a­tion in tone that I knew I had found some­thing spe­cial to work with.  With some stretch­ing, smooth­ing, and pro­cess­ing, it turned into a haunt­ing under­tone that I could build from.  I used it as a root sound and also used por­tions of it as an impulse for a con­vo­lu­tion reverb to give all sounds a sim­i­lar tone.  I com­bined that with a Noc­tule Bat and fox cubs.

Both sam­ples had char­ac­ter and a giant range of vocal­iza­tions as well as hav­ing sim­i­lar tonal con­tent.  I began cut­ting and shap­ing slices to cre­ate cries of the new hybrid ani­mal. My typ­i­cal work­flow involves find­ing source mate­r­ial that con­veys an emo­tion or fre­quency mate­r­ial that I want my result­ing sound to have, and then using effect proces­sors and plu­g­ins that can morph the source sound into some­thing closer to what I want, much like a sculpter with clay.  I use plu­g­ins like the Waves gold series, GRM Tools, and the Audio Ease plu­g­ins. Once I am happy with my sounds, I final­ize them with an EQ and reverb to give all ele­ments the same pro­cess­ing, then I typ­i­cally com­press them a lit­tle to give them some vol­ume, and voila!

Stay tuned to the PSE Blog for more infor­ma­tion on how these tal­ented sound design­ers cre­ated these Hybrid Animals!

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