22.04.2025 - 17.04.2025 (Week 1 - Week 4)

Janaan Ahmed (0353333)

Minor Project/ Bachelor of Design (Hons) in Creative Media

Exercises

Lectures

Reflection at end of each lecture note

W1: Sound Fundamentals

Nature of Sound

Sound: vibration of air molecules that stimulates our eardrums
Exists as variations of pressure in a medium
3 Phases:

Production: Source of sound (eg. vibration of vocal cords)
Propagation: Medium in which it travels through. Molecules compress and refract (variations in pressure)
Perception: Captured and translated by our brain

Psychoacoustics: study of human perception of sound

Human Ear

Fig 1.1: Human ear anatomy

Intricate structure: outer -> middle -> inner
Vibrations travel through ear structure, fluid in cochlea vibrates generating an electric signal transmitted to our brain which helps us identify different sounds
Different notes trigger different regions of the cochlea

Anatomy of a wave

2 forms of waves:

transverse: particles vibrate perpendicular to direction wave
longitudinal: vibrations parallel to direction of wave

Sound waves: longitudinal
Travels quickest through solids (particle distance)
Travels in all directions

Fig 1.2: Wave anatomy

Wavelength: distance between two compressions (or rarefactions)
Amplitude: strength of a wave signal
Frequency: no. of waves passing through a point per second (measured in kHz)

Properties of a sound wave

Pitch: more vibration = high frequency = high pitch
Loudness: larger amplitude = louder sound
Timbre: quality of the sound
Perceived duration: pacing of sound (fast/slow)
Envelope: structure of a sound (when does it get softer/louder)
Spatialization: location of sound in space

Fig 1.3: Human hearing range

L1/ REFLECTION:

It is interesting to learn the mechanism of sound as variations of pressure and our perception of it. This lecture overall was a refresher that takes me back to some things I learned in physics class. It is also incredible how the human ear has developed and adapted so efficiently to detect these changes in pressure, and of course our brain's ability to intercept it as sound.

W2: Sound Design Tools

Digital Audio Workstations (DAW) have a set of common tools useful for sound design.

Basic techniques:

Layering

Time stretching

Pitch shifting

Reversing

Mouth it!

1. Layering

Layering different sounds over each other enables us to blend and mix them to create a new unique sound

2. Time Stretching/ Time Compression / Elastic Audio

Changes pacing/tempo/speed of audio without altering pitch

3. Pitch Shifting

Changes pitch without altering pacing

4. Reversing

Coupled with layering, can yield interesting effects

5. Mouth it!

If you're struggling to find the sound you're looking for

Extra notes:

Destructive editing: editing on waveform

Non-destructive editing: editing on multitrack

Make sure sample rate for multitrack session matches the files you have

Radio = 44100 kHz, visuals = anything above 48000 kHz

Higher sample rate = better quality

Bit depth: range of sounds/ loudness

Sound design for impactful storytelling and atmosphere

Tip: Less is more

Understanding Reverb and its settings

Reverb is basically the echo you hear in a room/space.

Decay time: how long the reverb lasts before it fades away completely

eg. shorter: clap in a small room, longer: clap in a large room

Pre-Delay time: delay between original sound and when the reverb starts

eg. shouting in a large room, echo would be heard after a while

Diffusion: how 'spread out' the reverb is i.e. changes how 'smooth' or 'choppy' the echo is

High Diffusion: Smooth, blended echoes (like a sponge or soft clouds).

Low Diffusion: Clear, sharp echoes (like tapping glass or drumsticks).

Perception: Changes how 'bright' or 'dull' the reverb sounds

absorbent= room with carpets more muted i.e. dampens echoes for softer feel

reflective= room with tiles or glass more bounces i.e. bright and lively

Output level (wet and dry): controls between OG sound (dry) and reverb/echo effect (wet)

high wet + low dry

large and spacious settings where reverb is very apparent

bring out echoes

low wet + high dry

intimate settings like recording studios

clarity and focus on OG sound

Key Takeaways:

Decay and Pre-Delay: sets size of the space

Diffusion and Perception: define texture of surroundings

Dry and Wet: balance clarity and immersion in space

L2/ REFLECTION:
Sound design often carries the emotional weight and atmosphere of a scene, however I think we can all agree it doesn't receive as much praise as it deserves, despite doing the heavy lifting. But perhaps it's because sound is ingrained into a scene so effortlessly in the background. I think the world of sound and foley is full of possible and endless combinations, but taken with sound design tools, it is a matter of utilising your creativity to achieve a desired sound outcome.

W3: Sound in Space

Diegetic and Non-Diegetic Sound

Diegesis: The world of the film and everything in it

Everything characters exp within their world is diegetic

Everything that only the audience perceives is non-diegetic (eg. title cards)

Fig 1.4: types of sound in film

Diegetic Sound

Sounds characters can hear

e.g. weather, vehicles, weapons, music within film, dialogue, some forms of voiceover

Establish world of characters and inform setting

Can manipulated to let us know what chars hear (eg. fly)

Non-Diegetic Sound

Everything characters cannot hear

e.g. SFX, musical score. forms of narration

Can enhance motion and movement to increase intensity (fight scene)

For comedy (punchline in a joke)

Shapes the film experience (eg. how transcendent Interstellar is)

Trans-Diegetic sound

Expectations subverted

sound expected to be non-diegetic suddenly diegetic (music score -> playing musical instrument)

Switches between them can blur lines between fantasy and reality

L3/ REFLECTION:

Diegetic and non-diegetic sounds shape the world of film in their own unique way and so it is interesting to see how they both can be manipulated to fit the story. Whether it is to convey a character's feelings, or the atmosphere or seriousness of a scene, the interplay of diegetic and non-diegetic sounds contribute equally to a scene as the cinematography. I suppose it is the director's preference and artistic take on a scene and overall tone of the movie that determines how they're used.

PRACTICAL

Fig 1.5: Track Automation

Clip Automation vs Track Automation

Track automation is time specific so if the clip is moved along the timeline, it will sound different depending on where it is within the timeframe.

Clip automation applies to the clip.

Use track automation for stories/film where scenes require specific timings

Volume, panning, and EQ can be manipulated under the drop-down panel.

In-class exercise

1. Jet plane passing by

Fig 1.6: Jet plane volume and panning

2. Woman walking past us into a cave

Fig 1.8: Cave voice track automation and panning/volume

Instructions

Exercise 1: Parametric Equaliser

For this exercise we are given 4 samples of an audio clip and required to equalise it according to the reference or flat version of the audio. Bass, treble and mid-range frequencies are adjusted for each one accordingly.

Fig 1.10: EQ 1 (Parametric Equaliser)

Fig 1.11: EQ2 (Parametric Equaliser)

Fig 1.12: EQ 3 (Parametric Equaliser)

Fig 1.13: EQ 4 (Parametric Equaliser)

Exercise 2: Sound Shaping

For this exercise we are provided with a sample voice recording and required to shape it using the parametric equaliser, and reverb/echo to follow:

Telephone
Closet (muffled)
Walkie Talkie (similar to phone, limited frequencies are transmitted)
Bathroom
Airport Announcement
Stadium Announcement

1. Telephone

A thin sound that has low bass and treble with more mid range frequencies.

Fig 2.1: Telephone EQ

Fig 2.2: Telephone Audio

2. Within a closet

The voice will be muffled and thus have more bass and lower treble.

Fig 2.3: Closet EQ

Fig 2.4: Closet Audio

3. Walkie Talkie

Walkie talkies transmit a limited range of frequencies and sound like a more exaggerated version of a telephone. The mid range frequency is increased and the others lowered to get the distorted 'cackle' effect.

Fig 2.4: Walkie Talkie EQ

Fig 2.6: Walkie Talkie Audio

4. Bathroom

As with the closet, I first adjusted the EQ so the voice is muffled (coming from within a small room). Afterwards, the reverb is adjusted. The pre delay, decay time and diffusion are not too high since the space is small. The dry sound is also higher than the wet since a bathroom is small despite being reflective.

Fig 2.7: Bathroom EQ and reverb

Fig 2.8: Bathroom audio

5. Airport

Looking at the space and texture of an airport, we know that they are spacious, typically with high ceilings. Given this, we would have a higher decay + pre delay time + high diffusion. Since they usually have reflective surfaces we also know that there will high reflection. The EQ is adjusted so it is similar to a telephone.

Fig 2.9: Airport EQ and reverb

Fig 2.10: Airport Audio

6. Stadium

As with an airport, a stadium being even more spacious will have a high decay + predelay time + diffusion. However, it will not be as reflective as an airport. Moreover, the wet (reverb) will be higher than the dry (original sound) since it is a large open space.

Fig 2.11: Stadium EQ and reverb

Fig 2.12: Stadium audio

Final Outcome:

Exercise 3: Environment Soundscape

For this exercise we have to create environmental soundscapes for the reference images provided:

1. Eco/Biotech Lab

The first picture appears to be a bio-chamber or eco-lab of sorts set in a futuristic setting. I imagine it to be set in a dystopian post-apocalyptic world.

Fig 3.1: Environment #1

Fig 3.2: Environment #1 Audio

Process:

Some Key Scene Elements:

Giant Tree
Machinery
Metal Railing
Exhaust fans/pipes
Soldiers
Machine Guns
Electrical circuits

My idea for the narrative is essentially for one of the soldiers/researchers to walk around the room passing by the different elements visible in the scene. It'll essentially be an unfolding of the scene for the listener:

Soldier walks down metal walkway
Passes by mini bio chambers
Sits at one of the controller panels
Tree rustles/ ventilation

Fig 3.3: Multitrack overview

My process was pretty straightforward:

I first set the 'base' for my canvas, a natural forest-like ambience
I then set the basic skeletal structure: the 'path' of the soldier adding footsteps, starting from the metal walkway, down the stairs, and towards the controller panel.
Details like beeping, button sounds were added in later. Some sound files were merged and trimmed
After scene was set, I then adjusted the effects, focusing mostly on reverb
Panning, volume control were left for last.

2. Laser Room

The second image appears to once again be set in a futuristic research lab (possibly underground). It looks cold and sterile.

Fig 3.4: Environment #2

Fig 3.5: Environment #2 Audio

Process

Some Key Elements:

Holographic screens
Scientists
Wet floor
Electric circuits
Machinery
Laser Beams

The idea for the narrative is to follow the movement and action of the researcher:

Entering the lab
Keying in data
Machinery turns on
Laser Beam run

The process was the same for this environment, however I used a lot more effects such Parametric Equalisers to make the multiple laser files I downloaded sound more cohesive during the laser blast.

Fig 3.6: Multitrack overview for environment 2

Fig 3.7: Closeup of track layering for laser beam shot

Final Outcome:

Fig 3.9: Sound Credit

Feedback

Ex 2: Sound Shaping

The airport voice can be less muffled.

Ex 3: Soundscape

The expectation was to make the audio according to the view from the pictures but I made it from the 1st person POV. Even though the outcome is different, sir was okay with the sound.

Reflection

Experience

These exercises were a refresher and expansion from some basics we learned from previous modules in the semester. The headphone quality definitely matters and it was interesting to note the difference in sound quality between studio headphones and regular ones.

Observation

I initially went into the exercises and randomly played around with the controls to figure out things as I go. That is no doubt helpful of course, especially to understand the interface of Audition. But by taking the extra step to understand and consider the space the sound is travelling in, and the nature of the sound itself, the whole process becomes more efficient.

Findings

I guess it's cliche of me and obvious to say that sound plays a fundamental role in storytelling. But by actually being involved in the process, I learned to appreciate the details and choices that go into creating a soundscape that conveys what we want. Some key things I learned were to always consider the direction, atmosphere, and distance of the sound, and also from whose perspective we are hearing the sound from (for storytelling).

Janaan Ahmed (0353333)

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Sonic Design / Project 1: Audio Fundamentals

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