After recording, we spent time editing in the studio to get the curve right, from initial ‘contractions’ to final push, re-pitching and twisting the recordings to get the car to judder and jolt with the animation. We tested different techniques to morph the car, from phase vocoding to granular sampling. Once we had the right shape, we set on trying to make the car feel more like an animal. We blended it with more organic sounds, morphing it with a gasping exhaling walrus, a snarling bear, a bellowing rhino and a time stretched horse, all to make it sound even more of a beast than it already is
- String and Tins
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