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That’s where I discovered processors like OTT, clipping, multiband distortion, and acoustic theory like the Fletcher Munson Curve ( Editor’s note: The Fletcher Munson Curve represents the sensitivity of our ears to equal loudness throughout the frequency range.)
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KP: I began by learning the processing tricks from Dubstep/Neuro Bass tutorials on YouTube. Did you come up with those by yourself or is it a culmination of tricks you learned over the years? MONUMENT – Cinematic Trailer Sound Effects: EPICOMPOSER’s first original sample productĮPICOMPOSER: In the course, you’re unveiling quite a few of your creative audio processing and editing workflows. Overall, I recorded 20 hours of video that I carefully edited down to 4+ hours, so you only get the best! The class also comes with an exclusive Trailer Sample Pack and 1+ GB of stems, raw samples, and synth patches. There’s a lot of distribution choices, so I help the students out by sharing my experience with each distribution method.
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That’s where I explain how to market your sounds: industry vs. The last part of the class is focused on licensing. You get to see all the layers, the processing and mastering chains. A lot happy accidents occur in these videos! The other videos are breakdowns of sound effects that have been licensed in trailers or released with INSTINCT. Half of the videos are improvised, so you get to see my mistakes, and see how I solve these issues. If you want to know how to design Braams, Downers, Sub Hits, Whoosh Hits, Risers and more – that class is for you. I also give away some of my secret production tricks to get your recordings sounding “larger than life”. It’s so tiring… I wanted to convince people that they can make their own epic sounds from scratch! The course covers everything from recording, synthesis and layering to mixing and mastering sound effects. KP: Nowadays, most composers all use the same sounds and libraries. Could you tell us some more about what’s covered in the course and how the idea came to life in the first place? Started my own publishing company, released sounds for free, did a bunch of customs that never placed… But eventually, I started seeing some licenses come in.ĮPICOMPOSER: You recently published an inspiring online course on contemporary trailer sound design in cooperation with Evenant. I began studying the best trailer tracks and artists (Attila Ats, Generdyn, Hans Zimmer, Junkie XL). It’s fair game, so that’s what I focused on. As long as the music and sounds are good, you have a chance to place in a trailer. There’s only a handful of composers at the top and I didn’t want to be an assistant for 10 years… On the other hand, I felt that the trailer industry didn’t give a damn about your age or your resume. Sadly, I also discovered that the film industry sucks. There, I landed an internship at a mixing studio where I got to see how orchestras were recorded and mixed for films like Life Of Pi and the LEGO Movie. Therefore, I packed my bags and flew to LA to find a job a bit more sustainable.
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Also, most careers in that field are very short. KP: I was producing EDM in France and I loved the scene, but I felt that it wasn’t a healthy lifestyle.
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Right now, I’m focusing on my new class with Evenant: Trailer Sound Design – From Source To Cinema.ĮPICOMPOSER: How did you first get involved in sound design for cinema, TV and trailers? I’ve also released AVA – INSTINCT Trailer Sound Effects a few months back. Some of my work has been featured in trailers like Spider-Man Homecoming, Justice League, and a bunch of other blockbusters. My name is Karél Psota, I’m a French composer, producer and sound designer based in LA. KP: Hey Epicomposer! Thanks for having me.
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In addition to the interview, Karél was kind enough to provide us with FREE pack of some of his state-of-the-art Trailer Sound Design Effects! Get your copy of this exclusive audio sample pack at the end of this interview.ĮPICOMPOSER: Karél, would you please introduce yourself to our readers? We had an enjoyable chat about inspiration, workflow, secret sound design tricks and…Pokémon. As part of our review of Evenant’s Trailer Sound Design Course we had the chance of interviewing the course’s tutor, sound designer and composer Karél Psota.