Sonic Design / Final Project: Game Audio

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08.07.2025 - 29.07.2025 (Week 12 - Week 15)
Janaan Ahmed (0353333)
Minor Project/ Bachelor of Design (Hons) in Creative Media
Final Project: Game Audio

Instructions

Final Project: Game Audio

For this project we are given 5 gameplay videos and have to choose 1 to create the sound effects for. I selected the clip from the game Hollow Knight.


1. PRE-PRODUCTION

Cue Spotting
I first watched the silent gameplay video and noted down all sound-worthy actions like jumps, lands, etc. After categorising the sounds into a list, I watched a reference gameplay video to understand how the original game SFX was like so I can try to closely replicate. After all, sound has to match the game aesthetic. The stage the gameplay video we were given is Forgotten Crossroads.


Asset List:

Audio Storyboard:

2. PRODUCTION

Audio Recording 
Mr Razif allowed us to use the recording studio to record our sounds. So with a bag full of the required items (plus some extra junk - they could come handy) I headed over there and was joined by 3 other of my classmates in the studio. We helped each other record and save the files. The studio mic was really sensitive and picked up on the sounds so well!! And the minimal white noise in the studio made the editing really easy.

I also took inspiration from them and recorded some additional sounds as well just in case, but there were other sounds that I only recorded back home (like the fly voice because um well that would be embarrassing in a spotlight situation) and the sizzling pan. 

Fig x : Recording Studio

Recorded Audio List:

Note: Sounds recorded at studio end with .wav, and phone recording .m4a

Audio Processing:
Before applying any FX, I first start by eliminating the white noise (subtle even in the recording studio) by using Capture Noise Print and Noise Reduction. I also trim parts of the audios to separate the takes for one object. Additionally I manually adjusted the volume and used compressor to clean up some audio clips.

Fig x: Applying denoise
My game plan was to start with the ambience sounds which consists of 4 parts to create a convincing cave soundscape. The main audios used for this are the water drops and cave winds file. I create a duplicate of the cave winds and reverse, stretch, and pitch-shift it down (and other FX) to create an eery low hum for white noise. In summary:
  • Cave winds
  • Low wind 
  • Water drops
  • Water drops (distant)
These are directed to a bus track [CAVE AMBIENCE] to control the volume as a whole

Fig x: Multitrack window - cave ambience sounds

Next I moved onto mapping the active sounds made by the player. These sounds influence the environment and so it's preliminary. I clip variations from different takes together and string them together, adjusting mainly the EQ and pitch. I used stretch to make them more abrupt and sudden. 
  • Walk
  • Land
  • Jump
Fig x: Multitrack window - player sounds

Though not exactly a player sound per se, I grouped Geo collect here as well to minimise categories. Technically the sound is induced by the player interacting with it though. 

Fig: Geo Collect FX rack

Another sound like this is the sword slash. While it is in fact a player controlled move. I categorised as weapon. To create a convincing SFX for this I used 3 audio files I recorded and used them together to create a 5-layered composite consisting of:
  • Sword Whoosh (hanger)
  • Sword Swipe (paper tear): Parametric EQ: increased band 5 to make sound brighter
  • Metallic (fork variation 1): For layering metallic texture
  • Metallic (fork variation 2): Very resonant and ringy
  • Metallic (fork variation 3): Additional metallic layering and body
Fig: Multitrack window for sword slash

Minimal effects were applied, as the raw recordings already aligned well with the intended outcome. A bus track labelled [WEAPON SLASH] was created to group these layers and slight reverb was added to create cohesive spatial feel.

Next we move onto environment FX and secondary sounds such as enemy FX triggered as a result of the player's actions. These include:
  • Electricity and Static (not player induced): For the static I reused the comb audio  applying reverse, stretch and layered/overlapped them. 
Fig: FX rack for static

Fig: FX rack for electricity

Fig: Multitrack Window - electricity and static
  • Geo Drop: EQ, Reverb, Analog Delay and Pitch Shifter to create a convincing game-like coin drop, making sure not to make it too heavy. This is in a bug's world after all right?
Fig: FX rack - Geo Drop
  • Beetle Walk: Very straightforward I just used pitch shifter and EQ to make the tap sound more bass-y 
  • Fly Wings: Not very happy with this one but I was out of time so just let it be. Applied pitch shift and EQ to the sizzle sound. 
  • Fly & Beetle Voice (also detailed in audio journal -- see below)
Fig: FX rack - Fly Voice

Fig: FX rack - Beetle Voice
  • Explosion (detailed in audio journal -- see below)
  • Enemy Hit (detailed in audio journal -- see below)
  • Boulder Hit (detailed in audio journal -- see below)
I have included the detailed audio journal for 5 select SFX in this production below:


3. POST-PRODUCTION

Final Edit
At this stage, I do pitch + volume automation as well as panning for the electricity, static, and enemies to match the direction and create sense of space/distance. 

Fig: Multitrack window showing panning and volume control
I also add a hard limiter to the final mixer to prevent any clipping

Fig: Multitrack Window Workstation

Fig: Mixer

Compiling video
All that's left now is to import the mixdown into Premier Pro and combine the audio and video for the final output.

FINAL OUTCOME:


Feedback

My weakness is managing volume levels so it is actually audible and doesn't sound flat. Most my projects are too low or flat from my own observation and so I asked Mr Razif for advice on a guide to gauge volume levels for the ambient and direct sounds. Mr Razif suggested to import a reference audio into audition and study their volume range.

Reflection

This project has many layers to it and really helped me become a bit more organised in thought and action. Planning is super important to ensure that each stage of the project goes smoothly and efficiently especially when we have a limited slot for recording. Recording the sounds was the best part for me because it was exciting to try different combinations of objects. But I suppose it is also about finding what best fits the game aesthetic. While recording it was important to do multiple takes for each object at different angles and distances. I realised I overpack for studio day when I found that some of the best sounds are made with the most ordinary of items and it really is about extending your creative palette and exploring different possibilities even with limited objects. 





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