Welcome back everyone! The first version of Lobotomy In Orbit seemed to have made an impact on some people, making them feel very uncomfortable (the intended result) and after a consultation with our fearless leader Akshay Kalawar, he gave me some advice on how to improve the piece and make people REALLY scared. The original version wasn’t worldized, a term used by sound designers and is the process of putting sounds into a desired environment. I could explain this further but seeing we live in the age of technology why don’t we let the pioneer of worldizing, Walter Murch explain it for us.
So I have applied some more reverbs to my sounds, in particular the Woman, Man, Drills and Glass Shards and automated the wet/dry mix for when they are happening at a distance or close to the “listener”, a general rule of thumb is that the further the sound is away, the wetter the reverb. A point that was mentioned is that you never increase the dry signal (which I had done in the original), instead you attenuate it, so you are left with the room-tone, another aspect of sound design. The original version didn’t have much room-tone so it was a little confusing as to where this event was taking place, room-tone and worldizing go hand in hand, I guess you could say creating the right room-tone is the technique used to make worldizing effective.
Another point was that the frequency response had to match the distance too, once again this relates to the environment and/or objects in the path of the listener. To achieve this I automated the high and mid frequencies to match the distance of our friendly lobotomising maniac and this paired with the automated reverb gives the listener greater immersion and credibility to the “World”.
After making these changes I felt that the piece sounded a little sparse, so I created another instrument track and put a low-frequency drone from the “Evolve” sampler, which acted like the glue that stuck it all together.