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Portfolio 
&
Showcased Works

SFX Demo Reel

This is a Demo Reel for the Sci-Fi impacts I've been currently making.  All SFX in this video were personally recorded by me, using a Zoom H5 Handheld Recorder (xy pattern mic) at 24 bit/96kHz. Utilizing Logic, I edited and processed the SFX, while also creating the accompanying music. The video licensing was purchased through a stock video distributor-iStock. The video was edited through Final Cut Pro, and then compressed through iMovie. 

Predators UniteShay Harris
00:00 / 01:23

This  Demo is composed of similar sounds as above, with more electronic/transformer sounds along with a collection of "organic" movement sounds. 

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Radio Imaging

While studying at Full Sail University, I had to create an image for a fictitious radio station. I chose to create an EDM dance station in Dallas, TX. These are the assets I created for that project. 

Intro-Radio ImagingShay Harris
00:00 / 00:30

An Intro is meant to identify the DJ/show name, station, and time that the show airs

Sweep-Radio ImagingShay Harris
00:00 / 00:15

A Sweep is designed for play back either partial or in full. Sweeps are usually kept around 20 sec. in duration.

Bumper-Radio ImagingShay Harris
00:00 / 00:07

Bumpers transition from commercial breaks. Generally kept around 5-10 sec. Bumpers allow your listeners to know which station or show they are listening to. 

Stinger-Radio ImagingShay Harris
00:00 / 00:06

Stingers give some ear candy to program listeners. It brings the  DJ's character to life, usually  with custom made animations to their voice along with high impact, high energy sound effects. 

Outro-Radio ImagingShay Harris
00:00 / 00:32

Outro's identify your station again, for a day's final farewell. It tells the audience when you'll be back.

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Dresden

About

Dresden is a short film about WWII. It was given to my classmates and me, while attending Full Sail University for my Bachelor's program in Audio Production. The video follows a solider named Ryan. Our assignment was to create and integrate all the sounds with the exception of Ryan's voice. 

Spotting

First we conducted "spotting" where I went through the entire film, and figured out what type of sounds I needed. With the use of Pro Tools, I created tracks I felt I was going to use in the future, as well as, create placeholders for the sounds I planned on recording. I was looking for every sound I could think of, from footsteps to SFX and background ambience. This process proved critical in the flow of work in the coming weeks of class. 

Dialogue

Ryan's Sergeant is the one screaming at him in the video. My classmates and I were challenged with recording either ourselves or another male voice to capture the essence of a Sergeant screaming at a Private in the middle of combat. I opted for recording my voice for the Sergeant. Ryan's dialogue was already recorded and remains in the final video. 

Foley

The Foley, I found, was the hardest, yet funnest portion of this project. The smallest of sounds mattered, and I did my best in the time constraint I had, with the material I had. Everything from footsteps to clothes rustles; from gear jingling as a soldier moved to the sounds of handling a rifle. I employed my mother to create the German Officer's footsteps and I acted out Ryan's footsteps to give more of that impression of two different people. This was a highly rewarding experience. I enjoyed it!

SFX

Most SFX were taken from free sources online, attached with a creative commons license. However, there was still a lot of recording that I conducted in attempts to capture that realism. Panning and dynamic/time based effects were utilized extensively during this process. Every sound had its own place to live in the stereo field, to include every single bullet whiz. For the explosions, I introduced more sub harmonics to give more of that impactful and rumble type sound you'd expect from such an event. 

Background

For the background, our professor gave the class a standard of utilizing at least 5 different layers to create the ambience. For inside the bunker, I used a generator hum layered with an underground ambience and an old recording of Hitler. For the battle scene, I used an all male crowd yelling, wind in a forest, and a recording I took from fireworks being shot in my neighborhood on the 4th of July. 

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Blacksmith

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Overview

Blacksmith was a small project given to me and my peers by Full Sail University, while attending their Audio Production Bachelors Degree program. This project was purely for educational purposes, meant to enhance our understanding of the sound design process along with the implementation and integration process through the middleware program Wwise. Blacksmith was given as a courtesy by Unity Technologies

In the game, Völund is an elven blacksmith, from Norse mythology, known for his abilities of smithing magical weapons. He is searching for a large magical orb that is guarded by undead viking warriors, or "Draugars"

I recorded over 150 sounds for this project with both the H5 Zoom (XY) and 2 shotgun mics. Editing took place in Pro Tools. Design of the sounds, especially the ones that called for more of a synthetic sound effect, took place in Logic Pro X.  Wwise was used for implementation into gameplay, and Final Cut Pro was used for the creation of the Demo Reel. 

 

I utilized a number of different methods to achieve the footsteps of both Völund and the Draugars. Due to the fact the Draugars were larger than Völund, all assets used for the Draugars were layered with a sub frequency to include the grunts and death vocals. I felt this gave a larger impact on weapons hits, footsteps, and an overall menacing factor to them. A funny, but trialing event happened during this. While recording the background, I captured a cell phone notification sound. While implementing this sound and even testing the gameplay out, I had thought it was my phone continuing to give me that same notification. It wasn't until I was listening to the video of the gameplay that I had heard the recorded sound, and knew it wasn't my phone. It took me some time, but I isolated the sound, cut it out, and reconstructed the background loop. Though this is a minor issue, it could have been easily mitigated by silencing the phone.  Lesson learned.

I hope you enjoy the demo. There will be more to come in the future. 

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Blind and Cold

Blind and ColdShay Harris
00:00 / 03:08

Overview

Blind and Cold was a massive undertaking. The last month of my undergraduate program, my classmates and I were tested on every aspect we learned in the Audio Production program. The main objective for this was to record, mix, and master an entire production from start to finish. 

This song is entirely my creation. I wrote the song, played and recorded every instrument, to include: banjo, bass, acoustic guitar, harmonica, hurdy gurdy, and percussion. My son, Zane, helped me with his ukulele and various percussion elements. I recorded my vocals to include: Lead Vox, Doubling Vox, and Background Vox. 

Although, I wrote an entire song with two verses, you will only hear the chorus, pre-chorus, and bridge within the final master. I opted in leaving the verses out due to subpar recording and lyrical content not allowing the flow I was looking for. Since this project was under a strict time constraint, I didn't have time to re-write or re-record the verses. 

The mix came out with 90 total tracks with vocals taking up 27 of those tracks. I don't know the "genre" of this song, per se, so I call it "Deep South". I won the Advanced Achievement Award and Advanced Mixing Award from Full Sail University due to the quality of this song. It's truly my best production, even with the verses being left out. I hope you enjoy this. It was quite the experience in creating this. 

This project has turned into a personal endeavor to create an EP consisting of the same techniques and instruments. Here is a track called "7-12" that I just finished recording the instrumental. No mixing or mastering has been conducted and I don't know if I'm going to be putting any vocals to it just yet. If I do decide to put vocals to it, I'll be fixing the arrangement to a more conducive format. I love the way these instruments mesh together and hope to get an EP released by the end of the year. 

7-12 (Recording Finished)Shay Harris
00:00 / 01:27
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