Sound Design in Music
Mission
This project began as an exploration of sound, born from the desire to create my own sample library composed entirely of organic recordings. I sought to capture the essence of the world around me — turning the sounds of everyday objects into sonic textures rich with possibility.
From a handmade vase from Costa Rica to a meditation singing bowl from Tibet, goat hoof shakers from Africa to Ghungroo ankle bells from India, I found music in the most unexpected places. Even a vintage Christmas toy box from Germany and the jingling car keys from a friend's pocket became part of this unique collection. Each object, though simple in origin, carries a story and offers a distinct voice, contributing to an intricate soundscape that blurs the line between the familiar and the otherworldly.
I wanted to push the boundaries of what could be achieved in terms of sound design and music creation — using only Ableton Live and its stock sound design effects, without relying on any traditional instruments. By stripping away traditional tools, I was able to focus solely on the raw, unprocessed nature of these recordings. This process was not just technical, but artistic and philosophical, asking how far sound could be pushed, shaped, and repurposed to evoke emotion.
The result is a work that transforms the ordinary into something extraordinary, drawing listeners into an immersive experience that reimagines the way we interact with sound.
Pictured: Fellow sound designer, Shaan Chhadva, during the recording session in a dubbing stage.
Elicit
/əˈlisət/ — to evoke or draw forth something that is latent or potential into existence.
This track is aptly named “Elicit” as all of the final sound elements you hear were hidden within the original raw recordings, existing but not yet developed, and were manifested through sound design.
Through meticulous and purposeful shaping, these raw sounds evoke emotion and movement, revealing the hidden potential of the world around us.
About the Track
Process
Recording
To create my sample library, I collaborated with fellow sound designers in an 8-hour recording session at a dubbing stage. Using Pro Tools and an Avid S6 console, we captured every sound with precision. We used a Grace M801 mic preamp, Neve 1084 stereo pair mic preamp, Neumann KM184 pair in a XY stereo pattern, and a Sennheiser MKH816 shotgun mic to ensure the highest audio quality, preserving the unique textures and details of each object both in mono and stereo.
Production
In a separate session, I used Ableton Live to sample and process the raw recordings. I relied solely on Ableton’s stock plugins and effects, including its sampler and granular synthesis plugin, to craft the track. This approach allowed me to transform the original recordings into a complete composition, creating melody and texture without the need for traditional instruments.