MK11 Sound Design Featured on HBO’s VICE News Tonight

The folks from VICE’s News Tonight stopped by NetherRealm to participate in some sound design fun with fruits and vegetables. Check out the video to see how we make some of our gore sounds for Mortal Kombat 11.


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    MarcusSeptember 1, 2019 at 11:28 am

    Wow. Great stuff. The magic of making sound!! Also I’ve been wondering. How did you guys created this sound for Sub-Zero? This really High-pitched whiz?? What kind of process you went trough?

    Timecoded YouTube link:

    • Stephen
      StephenOctober 4, 2019 at 9:38 pm

      Thanks! I made a ton of source material for Sub Zero’s sound effects because he was one of the earliest characters in development and I had the luxury of time. Those whooshes were made from processing recordings of breaking a frosted glass lamp shade in my office. I granulated, stuttered, and stretched them and then many performances were layered together, dopplered, then fed into the Cloud Delay and Metaverb modules of Molekular (in Reaktor) and then a ring modulator.

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    Karel PsotaSeptember 22, 2019 at 6:58 am

    So cool! Can’t believe how well the raw skull shattering sound worked. Really cool use of Crystallizer too 🙂

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    LoganFebruary 23, 2020 at 12:42 am

    This is awesome. How did you make those nut cracks sounds so brutal? What plugin did you use for that?

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    Parth DesaiAugust 29, 2020 at 4:14 am

    This is so cool! How did you make D’vorah’s voice sound the way it does? I can hear some cricket-y, insect-y sounds going on in the background while she speaks. Thank you! 🙂

    • Stephen
      StephenSeptember 8, 2020 at 3:33 pm

      Hey Parth, I wasn’t the one who worked on the Dvorah voice processing, but I know some of the basics. The chain was created by Brian Chard, then updated a bit by Matt Swanson for MK11. It all starts with a great voice performance, which Kelly Hu certainly gave us. From there, it’s pitched up a bit and ran through a granulator plugin to give it a little more stuttery feel, then auto tuned chromatically to make it sound a little more rigid and less naturally human, and finally there’s a pitch plugin with fast LFO’s on formant shit and pitch shift to increase the feeling that something is always a little ‘off’. There’s also a parallel chain of convolved cricket sounds that goes through a very fast tremolo, which is blended in and out with the dry speech.

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