The Quake 1 axe sound is just the Metal Hit sound from Korg M1, and the signature grenade bounce is in fact the same sound nearly 2 octaves lower.

I've always assumed the fireball works the way it does in Super Mario Land because they gave up programming any semblance of gravity physics for them. No idea if that was the actual reason or if there's an explicit design reason for it.

Sonic CD US Metallic Madness is mostly just riffing on top of this sequence preset from Korg Wavestation

The FL Studio sampler getting an offset knob is a relatively recent addition but an extremely welcome one. By automating it with a random LFO signal you can add a degree of humanization to any kind of repeated oneshot sample.

Once in a while I like to indulge in some Techno but I have a crazy deliberating amount of impostor syndrome when it comes to this genre. I have no clue how you're "supposed to" produce this stuff and just operate purely on vibes.

Denoisers are usually seen as very clinical editing tools but I like the way they work on pads in place of a typical filter, especially after you add reverb+delay back in afterwards and how the "artifacts" interact with them. Doing EQ/filter preprocessing before the denoiser also sounds cool.

I don't know if putting a transient shaper on the drum bus should be considered bad form but I just love messing around with the entire signal this way

Different varieties of FM Gabber kicks going doink doink doink

Just an old brief style study trying to make Acid Breaks in FM simulating squelchy distorted 303s. Dated January 2021. God, it didn't even feel like it was that long ago.

First time doing growly FM sax. Very unwieldy with inharmonic noise as a byproduct. I just hope the worst artifacts are buried enough in the full mix. Essentially you have to abuse the hardware LFO at max speed to attain the effect. OP1 feedback values need to be very surgical as well.

Nope