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Published on August 23rd, 2012 | by Administrator

PSE Interview: The Winner of Our Audio Olympic Competition, Saro Sahihi

On Mon­day we announced the cham­pion of our Audio Olympics: Saro Sahihi, the Ger­man sound designer behind Sound­Bits, a one-man Project Stu­dio spe­cial­iz­ing in design, mixing and remix­ing. (He also hap­pens to lec­ture at the SAE Insti­tute in Stuttgart.) We caught up with Mr. Sahihi ear­lier this week to talk shop, and go inside the process behind his win­ning Mon­key vs. Wolf box­ing composition.

How did you learn about the com­pe­ti­tion?

I read about it on I was tak­ing part in the sound design chal­lenges already: Part 12 and Part 13 (I won this one too). I loved this com­pe­ti­tion; design­ing sound with­out pic­ture is much more inter­est­ing, and needs a lot more imagination.

Which sounds from the Rare Ani­mals col­lec­tion did you use?

Brows­ing through the Rare Ani­mals Library, I stopped at the wolf sounds—they’re fero­cious. I used all of my five down­loads on them, and pitched them down a bit.

Were there any you wanted to use but ended up foregoing?

The whole library is awesome. There were so many sounds I liked… so, I’m very happy I won!

How did you con­cep­tu­al­ize the match, and how did that idea change from your first concept?

I am fan of hav­ing the weak win, but it would bor­ing just let­ting the mon­key beat up the wolf. So I decided to knock out the mon­key right away. You com­mis­er­ate with the mon­key, and then he comes back and beats the sh– out of the wolf! The punch­ing sounds are lay­ers of two “nor­mal punches”—one is from a library; the other I did on my own a while ago—and heavy wood impacts, short whooshes and some bone crunch.

Design­ing the monkey’s knock­out was more edit­ing and exper­i­ments until I felt sat­is­fied. I liked the explo­sion sound, and reversed the explo­sion when he comes back. I added some dog whin­ing for when the wolf gets beat up, and the knock-out-birds to make the whole scene more comic.

What tools did you use?

I am work­ing with Stein­berg Nuendo 5.5  as DAW for sound design here at Sound­Bits. As far as plu­g­ins, I use lot of Waves: Renais­sance Axx, REQ, some LoAir on the Punches. The wolf and mon­key sounds were strongly com­pressed (elysia mpres­sor + waves RVox). Most of the design was edit­ing, lay­er­ing, revers­ing, offline pitch-shifting and so on. The slight reverb for the sta­dium is from Nuendo’s REV­er­ence. The knock­out reverb is the Waves IR-1.

Did you lis­ten to any other sub­mis­sions before or after your sub­mis­sion? What were your favorites?

Yes I did lis­ten to other con­tes­tants’ sub­mis­sions, after I fin­ished mine—to avoid being influ­enced. There is one sub­mis­sion that I liked very much: The Triathlon by Juan Pablo Lagos. It had a real story.

PSE – Ani­mal Olympic Triathlon by Sono­labs

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