Sonic Design/Project 1: Audio Fundamentals
26/09/2024 - //2024 (Week 01 – Week 04)
Shao Han / 0369187
Sonic Design / Bachelor of Design (Honours) in Creative Media / Taylors University
Project 1: Audio Fundamentals
- INTRODUCTION
- LECTURES
- EXERCISES
- FEEDBACKS
- REFLECTIONS
INTRODUCTION
LECTURES
Week 1:Module briefing/Introduction
We downloaded the software needed for the exercise according to the requirements, created a blog to record the process of the exercise, and watched the video posted by Mr. Razif on MyTimes, which gave us a certain understanding of the projects that need to be completed.
In the offline class, Mr. Razif explained the content of the video in more detail and gave us software guidance.
Week 2:Sound Fundamentals
Week 3:Sound Design Tools
- Layering: Layering is two or more sounds put together. Layered sounds utilize mixing to mix numerous sounds together to form a modern, special sound.Most professionally outlined sounds are layered.
- Time stretching/Time compression: The sound is set to a certain length, and the sound of the sound is extended but the parameters stay the same. Time extending and time compression will alter the rhythm/speed of the sound.
- Pitch moving: Pitch moving changes the pitch of the sound, but does not alter the real length of the sound. For illustration, the sound of a chipmunk.The higher the pitch, the more slender and littler the sound, the lower the pitch, the thicker and more profound the sound. For illustration, the sound of a monster/zombie/evil.
- Reverse audio: This will donate interesting and unnatural sounds, the key is to layer.
- Mouth it: In the event that you can't discover the sound you need, you'll record it yourself. After you wrap up recording, plan the sound utilizing the procedures you've got learned.
Week 4:Sound In Space(Environment)
EXERCISES
Exercise 1:Basic exercise of Audio Adjustment
In the first week of class exercise, Mr. Razif sent us a file containing eight edited different tracks and one original track.
We need to wear headphones to distinguish the differences between the eight edited tracks and the original tracks, and adjust the parameter equalizer to make the eight tracks as close as possible to the original tracks.
Headphones must be used in this work, and computer playback will lose a lot of audio details so that the difference can not be heard.
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| Fig1.1 Original track audio,Week 1(28/9/2024) |
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| Fig1.2 Multi-track operation page，Week 1（28/9/2024） |
Equalizer 1
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| Fig1.3 The final result of the adjustment-EQ 1，Week 1（28/9/2024） |
Equalizer 2
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Equalizer 3
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Equalizer 4
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Equalizer 5
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Equalizer 6
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Fig1.9 The final result of the adjustment-Filter 1，Week 1（28/9/2024） |
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Fig1.10 The final result of the adjustment-Filter 2，Week 1（28/9/2024） |
The sound coming from the bathroom
If I were to adjust the sound to look like in the bathroom, I would use the reverb and echo effects in the audio software to simulate the small, enclosed, reflective acoustic environment in the bathroom. The sound in the bathroom will bounce due to the hard wall surface, creating a noticeable echo and reverberation. I also use an equalizer to reduce the high and low frequencies to make the sound sound more "muffled", as if coming from a closed, echo space. This allows for a more realistic reproduction of the sound in the bathroom.
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| Fig2.1 Editing process, Week 2 (4/10/2024) |
The sound of the phone
When I wanted to make the sound look like it was coming through my mobile phone, I mainly focused on two things: lowering the sound quality and adding a bit of distortion. I lowered the low end and treble of the sound, leaving only the midrange range. This makes it feel more like coming from a cramped, vintage speaker. I can also add some slight distortion or background noise to simulate the typical static or compression of a phone line.
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| Fig2.2 Editing process, Week 2 (4/10/2024) |
The sound from the closet
I wanted to tune the sound to the effect of being in the closet. First of all, the wardrobe is an enclosed space where the sound is reflected, so I can add some echoes to make the sound sound more layered. Furthermore, there's a extraordinary kind of recurrence within the sound of the closet, such as the bass may be more articulated, whereas the treble appears softer. I can alter these frequencies to create the sound feel closer to the closet. In expansion, the closet space is littler, so the sound will appear tighter, so I will too alter the impact of the channel to form the sound more centered.
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| Fig2.3 Editing process, Week 2 (4/10/2024) |
The sound from the stadium below
To turn the sound into an underground stadium, I would begin with some things. First, I included a reverb impact to form the sound sound like it was reflecting in an encased space, so that I might recreate the feeling of the sound bouncing off the ground. Than, I bump up the moo frequencies to create the bass more effective and sound thicker, like it's coming from profound underground. In expansion, I cut back the tall frequencies fittingly so that the sound doesn't appear cruel, but warmer.
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| Fig2.4 Editing process, Week 2 (4/10/2024) |
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| Fig2.5 Editing process, Week 2 (4/10/2024) |
Google Link：
https://drive.google.com/drive/u/0/folders/1qi4RtH9oYdr9J1PXml-0Ak5eqpTBZEQB
Exercise 3：More complex sound editing
This week, we need to learn some changes to the sound effects through Mr. Razif's teaching, so that we can effectively integrate the sound effects into the picture in the future, which is a very important part of our course study.
Explosion
First, I'll add more layering. Ordinary blasts are usually singular, while real explosions are often superimposed at multiple frequencies. I can make it richer by overlaying bass, pops, and some mid and high frequencies.
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| Fig3.1 Editing process, Week 3 (10/10/2024) Next, I add a reverb effect to make the sound sound more spacious. The sound of an explosion will have a noticeable reverberation and delay in the real world, and I can simulate this effect by adjusting the size and timing of the reverberation. |
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| Fig3.2 Editing process, Week 3 (10/10/2024) |
Finally, I pay attention to the dynamic changes in volume to ensure that the sound fades quickly after a split burst, giving it a shocking feeling. With these tweaks, I was able to make the normal popping sound more realistic.
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| Fig3.3 Editing process, Week 3 (10/10/2024) |
Pounch
To alter a brief hit to a persistent hit, I as a rule utilize a few sound preparing strategies. To begin with, I'll copy the striking sound and rehash it different times to make a nonstop cadence. To form it sound more common, I might alter the volume and pitch marginally for each redundancy to dodge sounding precisely the same each time.
Sometimes simple repetition can be stiff, so I may adjust the spacing of each hit according to the needs of the rhythm. Some hits can be slightly forward or backward to create a "human" rhythm, as if a real person is hitting.
At the beginning and end of each hit, I add a slight fade effect to make the transition between them smoother. This reduces stiff sound breakpoints and gives the overall sense of continuity.
Finally, I'll add some reverb effects to the entire hit track. This will make the sound sound like it reverberates in a room, giving each hit a bit of a sense of continuity and adding to the ambience.
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| Fig3.4 Editing process, Week 3 (10/10/2024) |
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| Fig3.5 Editing process, Week 3 (10/10/2024) |
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| Fig3.6 Editing process, Week 3 (10/10/2024) |
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| Fig3.7 Editing process, Week 3 (10/10/2024) |
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| Fig3.8 Editing process, Week 3 (10/10/2024) |
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| Fig3.9 Editing process, Week 3 (10/10/2024) |
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| Fig3.10 Editing process, Week 3 (10/10/2024) |
Final pounch sound
Google Link：
https://drive.google.com/drive/folders/1uIdLxt3E19TkRu1dDmD2zzsT_IwQwmi2?usp=drive_link
Exercise 4：Sound in Space(Environment)
This week, Mr. Razif asked us to use what we have learned in class to produce background sound effects for two pictures. We can refer to some works of our predecessors to help us complete this work.
We can find the voice we need on the website.
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| Fig4.1 Sound effect download,Week(18/10/2024) |
Environment 1
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| Fig4.2 Reference picture,Week4(18/10/2024) According to the picture, I looked for some sound effects that could be matched, such as the sound of water flowing in the culture tank, the sound of dripping water on the roof, footsteps, the sound of bullets, the sound of tapping on the keyboard. In the choice of background sound, I tried to use some more repressed wind sound to match the darker tone of the whole picture. |
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| Fig4.3 Editing process,Week 4（18/10/2024） |
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| Fig4.4 Editing process,Week 4（18/10/2024） |
Final environment 1
Environment 2
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| Fig4.5 Reference picture,Week4(18/10/2024) |
According to this picture, I looked for some sound effects about electronic elements, and added footsteps, door opening sound, start sound, emission sound and so on according to the details of the picture. These sound effects help me to achieve the integrity of the auditory picture.The production process is roughly the same as the previous group of sound effects, and finally the unity is achieved through the mixer.
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| Fig4.6 Editing process,Week 4（18/10/2024） |
Final environment 2
Google Link：
REFLECTION
Experiences
Working on the Sonic Design and Compilation venture was an energizing investigation of how sound works with narrating. From the primary thought to the ultimate blend, the travel required a befuddling blend of creative ability and specialized abilities. The strategy started by finding and recording a assortment of sounds, from foundation commotions to sound effects.Changing these unrefined recordings into a cohesive soundscape was both challenging and satisfying.The foremost locks in portion was testing with sound layering and control to inspire particular feelings and climates. In spite of the fact that there were occurrences where syncing the sound precisely with the visuals demonstrated monotonous, it was fulfilling to see how the proper sound-related components seem lift the narrating encounter.
Observations
Throughout the journey, I noticed how simple sound details can really change how a listener understands things. For example, small changes in sound echoes or tone can really change how a scene feels. I have also noticed how important good sound placement is in a stereo or surround sound system. It adds depth and makes the music feel more real. Another important idea was that quiet or low sounds help with focus and relaxation. The project confirmed that good sound design is not just about what you hear, but also about what you don't hear.
Findings
One vital disclosure was how effective sound is in telling a story. Indeed a straightforward sound can make a scene feel more passionate in case utilized within the right way. I learned how vital it is to think around what the gathering of people listens, making beyond any doubt each sound plays a important portion within the in general encounter.Also, it showed how important it is to keep moving forward and making changes. Trying out the sound plan with different groups of people helped us find ways to make it better, like adjusting the volume or improving how the parts connect. This process showed that working together on a good design is important, and getting feedback is essential to create a finished product.
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