Sonic Design - Exercises

24.09.2024 - .2024 (Week 1 - Week 14)

Low Li Vern/ 0362678

Sonic Design / Bachelor of Design (Honours) in Creative Media

Exercises

---

INSTRUCTIONS

---

LECTURES

Week 1

Mr. Razif introduced us to the Sonic Design module, which focuses on immersing students in the world of audio environments. We’ll be learning to use professional sound equipment available in the recording studio.

In the first week, Mr. Razif taught us how to use Adobe Audition, focusing on adjusting recorded audio using the parametric equalizer.

In a parametric equalizer, the audio spectrum is divided into different frequency bands: low, mid, and high—similar to the range of notes on a piano.

Low Frequencies (Bass): These range from around 20 Hz to 250 Hz. They include the deep, bass sounds like drum kicks and bass guitars. Boosting these frequencies adds warmth and depth, but too much can make the audio sound muddy.

Mid Frequencies (Midrange): This range typically spans from 250 Hz to 4 kHz. It covers most of the vocal and instrumental harmonics. Properly adjusting the midrange ensures clarity and presence in the mix. Too much can make the audio sound harsh, while too little can make it sound hollow.

High Frequencies (Treble): These are from around 4 kHz to 20 kHz. They include the bright, crisp sounds like cymbals and sibilance in vocals. Boosting these frequencies adds brightness and clarity, but excessive boosting can lead to a harsh or fatiguing sound.

So, for bass sounds, we would focus on the low frequencies, and for high sounds, we would adjust the high frequencies.

Week 3

DAW: Digital Audio Workstation - Software used to record and edit sound

1. Layering

• Taking 2 or more sound and placed on top of each other
• Allows you to blend and mix various sounds into a new unique sound

2. Time Stretching / Time Compression

• Ability to take a sound that plays a certain length and sonically stretch it within set parameters without changing the pitch
• Change the pacing/tempo/speed the audio but not the pitch

3. Pitch Shifting

• Ability to change the pitch of a sound without changing its actual length 
• Higher: Sound becomes thinner, smaller (Small objects/cute/toddler: eg. Chipmunks)
• Lower: Sound becomes bigger with more bases (Big objects: eg. zombies, monsters, giant, dinosaurs)

4. Mouth It

• Our voice is very flexible - be surprise with the kind of sound we can create with it
• *Visuals + Music + Sound Effects - more dramatic & immersive
• *Not use more than 3 sounds in one scene

5. Reversing

• Give a weird and unnatural sound

Week 4

Diegetic sounds are sounds that originate within the world of the story being told on screen. They are part of the narrative, meaning that both the characters and the audience can hear them. These sounds include things like:

• Dialogue between characters
• Footsteps, doors creaking, or other ambient sounds in the environment
• Music that comes from a visible source, like a radio or band within the scene

Non-diegetic sounds, on the other hand, come from outside the story world. They are added to enhance the viewing experience but are not heard by the characters in the scene. Examples include:

• Background score or soundtrack music
• Narration or voice-over that comments on the story but isn’t heard by the characters
• Sound effects used for dramatic emphasis (like a sudden "whoosh" when something exciting happens)

Tri-diegetic sounds (sometimes called metadiegetic sounds) refer to sounds that seem to exist on the boundary between diegetic and non-diegetic. These are sounds that may be heard by characters but also serve a narrative or symbolic function for the audience. For example:

• A character’s internal thoughts or memories that are made audible to the audience but seem to come from within the character’s mind
• Music that blurs the line between being heard by the characters and being a part of the soundtrack

Creative exceptions in sound design refer to unique or unconventional uses of diegetic, non-diegetic, or tri-diegetic sounds that enhance storytelling or create a specific atmosphere.

---

Week 1 : Exercise 1

For this exercise, we received a flat sound file and four equalized versions to test our headphones. Our goal is to adjust the equalized sound files to replicate the flat sound file as accurately as we can.

Fig 1.1 Equalizer 1

Fig 1.2 Equalizer 2

Fig 1.3 Equalizer 3

Fig 1.4 Equalizer 4

Fig 1.5 Equalizer 5

Fig 1.6 Equalizer 6

---

Week 2 : Exercise 2

This week, we experimented with the equalizer to create specific sounds that matched different locations or scenarios.

Sample Voice :

Telephone call :

For the phone call sound, I reduced the bass and treble while boosting the midrange, as phone calls primarily capture middle frequencies with minimal bass and treble.

Fig 2.1 Telephone call parametric equalizer

Closet :

For the closet sound, I reduced the midrange and treble frequencies while boosting the bass to create a deeper, more muffled effect.

Fig 2.2 Closet parametric equalizer

Walkie Talkie :

For the walkie talkie sound, I boosted the midrange and decreased the bass to create that distinctive, harsh tone typical of walkie talkie communication.

Fig 2.3 walkie talkie parametric equalizer

Bathroom : 

Fig 2.4 bathroom parametric equalizer

Fig 2.5 bathroom rack effect

Stadium : 

Fig 2.6 stadium parametric equalizer

Fig 2.7 stadium rack effect

---

Week 3 : Exercise 3

In Exercise 3, we were tasked with creating sound effects for an explosion, a firecracker, and a punch. We edited and modified the provided audio tracks using these effects to enhance the realism and impact of each sound.

Explosion progress :

Fig 3.1 Explosion stretch and pitch

Fig 3.2 Explosion reverse

Fig 3.3 Explosion multitrack

Final Explosion SFX :

Fireworks Progress : 

Fig 3.4 Firework parametric equalizer

Fig 3.5 Firework pitch shifter

Fig 3.6 Firework stretch

Final Firework SFX :

Punch Progress :

Fig 3.7 Punch Chorus

Fig 3.8 Punch High Pitch

Fig 3.9 Punch Low Pitch

Fig 3.9 Punch Stretch

Fig 3.10 Punch Reverse stretch

Fig 3.11 Punch Multitrack

Final Punch SFX :

Week 4 : Exercise 3

This week, we learned how to use track automations to manipulate the speed and volume of the audio, allowing us to create dynamic changes and add more control to our sound editing.

Fig 4.1 Jet plane exercise

The blue line controls the panning of the sound in our headphones, shifting it from left to right or right to left, creating a 3D audio effect similar to the experience of a jet flying around your head.

Progress for Exercise 4 :

Environment 1

The first thing that caught my eye in this image is a gigantic piece of laboratory glassware at the center, containing a massive tree with sprawling roots immersed in a green liquid. Next to the glass are two soldiers standing guard, tending to the tree. The lab itself feels damp and mysterious, adding to the eerie atmosphere. After analyzing the image, I created a list of sound effects that I believe would suit the scene. I search for these sounds on Freesound:

1. Tree and Liquid Sounds – bubbling liquid, subtle water movement, dripping sounds.
2. Laboratory Ambience – mechanical hum, machinery in operation, distant electrical buzz.
3. Footsteps – slow, cautious footsteps on a damp floor.
4. Soldiers Moving – rustling uniforms, gear shifting, light breathing.
5. Suspenseful Atmosphere – low, ambient hum, eerie background noise, subtle wind.
6. Environmental Sounds – echoing space, distant clinks of metal or glass.

Environment 1 Progress : 

First, I searched for a suitable sound effect on Freesound, then imported the selected files into Adobe Audition. I began with the laboratory ambiance, which included sounds like a lab scientist pressing buttons. The idea for environment 1 is to create the walking sound in a way that makes it feel like the soldiers are walking around the tree, with the sound surrounding us from all directions. It should give the impression that we are following the soldiers as they move.

Next, I adjusted the bubble sound effect using the parametric equalizer and pitch shifter.

Fig 4.2 Parametric equalizer (Bubble)

Fig 4.3 Pitch shifter (Bubble)

Next, I adjusted the footsteps sound using the parametric equalizer and added reverb to create a stadium-like effect, making it feel as though the sound transitions from a distant, wide-open space to a more confined area.

Fig 4.4 Reverb (Footsteps)

Fig 4.5 Parametric Equalizer (Footsteps)

Fig 4.6 Chorus (Heartbeat)

Fig 4.7 Multitrack

Fig 4.8 Multitrack

Final Environment 1 Mixdown (Increase the volume for a better sound effect experience :)

Next exercise we were told to make an environmental audio for the picture below.

We were assigned to spend one hour adding environmental sound effects to a given picture and submit our work to Mr. Razif for feedback.

For my approach, I decided to add background music that suits the lab setting, along with a button-pressing sound as the man operates the large laser gun. Since the woman is walking, I included the sound of footsteps. I then added more control button sounds, imagining the scene where the woman starts the laser machine. I followed this with a buzzing sound and an explosion effect, representing the laser malfunctioning and exploding. Finally, I added an alarm sound, simulating the fire alarm going off after the explosion.

First Tryout in class :

Feedback : I received feedback from Mr. Razif, he mentioned that I had added too much imagination to the sound design. He emphasized that the goal was to create environmental sounds that make the picture feel alive, rather than inventing a story beyond what is shown in the image. This feedback helped me realize the importance of focusing on enhancing the existing scene with subtle, realistic sound effects rather than adding narrative elements that aren't visually present.

Final Progress for Exercise 4 :

Environment 2

Laser and Machine Sounds – laser beam charging, laser firing, mechanical hum.

Laboratory Ambience – high-tech lab background, machinery operating, electronic beeps.

Damp Environment – dripping water, echoing drops, wet surface sounds.

Scientists Moving – light footsteps on a damp floor, rustling clothing.

Suspenseful Atmosphere – low rumbling, eerie hum, tension-building sounds.

Environment 1 Progress : 

My idea for environment 2 is much more detailed than the initial attempt. I've decided to add an electric zap sound to the scene, along with water drops, as the floor in the image is wet. For the walking sound, I used a "walking on water" sound effect to make it more realistic for the damp environment. Additionally, for the laser sequence, I combined three different sound effects to create a more interesting and dynamic sound effect blend.

First, I adjusted the electric zap sound by applying a pitch shifter, alternating between high and low pitches to add variety and depth to the effect.

Fig 5.1 Low pitch shifter (Electric zap)

Fig 5.2 High pitch shifter (Electric zap)

Fig 5.3 Stretch and Pitch (Laser)

Fig 5.4 Multitrack

Fig 5.5 Multitrack

Fig 5.6 Multitrack

Final Environment 2 Mixdown (Increase the volume for a better sound effect experience :)

---

REFLECTIONS

For this 4 week's Sonic Design class, I've gained significant skills in Adobe Audition. I have learned how to fine-tune tools like the parametric equalizer and pitch shifter, which has been a valuable experience. The most memorable part for me was learning how to control bass and treble in recorded sounds using the parametric equalizer, allowing me to enhance the audio quality. We also explored the differences between diegetic and non-diegetic sounds, deepening my understanding of sound design in storytelling.

The exercises, such as adjusting recorded sounds to fit different environments like a stadium or a closet, have been particularly helpful in refining my Adobe Audition skills. Overall, this class has expanded my sound design knowledge, giving me the confidence to apply these techniques in future projects.

---

THE END