Spatial Audio Design Project 1: Sound Fundamentals

 

22/09/2025 - 19/10/2025 | Week 1 - Week 4

Huang jiaqi| 0371553

Spatial Audio Design | Bachelor in Design (Honours) in Creative Media

Project 1: Sound Fundamentals

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Table of Contents 

   1. Module Information 

   2. EXERCISES : Audio Fundamentals

   3. Project 

   4. Feedback 

   5. Reflection 

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Module Information 

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Lecture

LECTURES

Week1-Module briefing 

In the first week, the teacher asked us to wear headphones and download the software before class. The teacher introduced us to the tasks we need to do this semester and the requirements of this course homework.

Week2-Nature of sound

Let's start with the nature of sound. Sound is actually the vibration of air molecules that stimulate our eardrums. We analyze sound in several stages. The first is called production, then transmission, and finally perception.

fig1.1 

Sound energy is transmitted in the form of sound waves. There are two main types of waves: transverse waves and longitudinal waves. In transverse waves, particles vibrate at right angles to the direction. In longitudinal waves, the waves vibrate parallel to the direction of the sound. Wavelength is the distance between two consecutive presses. The number of waves passing through a point in 1 second is called frequency. The rebound of sound is called echo.

fig1.2

Week3-Sound Design Tool

• Layering

Layering is taking two or more sound and placed on top of each other,Layering sound on top of another,allow you to blend and mix the various sound into a new unique sound .

• Time stretching

It’s the ability to take a sound that plays at a certain length and sonically stretch the audio within set parameters without changing the pitch ,Time stretching and time compressing will change the pacing/temp /speed of the audio but not the pitch.

• Pitch shifting

Pitch-shifting is the ability to change the pitch of a sound without changing its actual length.Shifting the pitch higher will make the sound thinner, smaller and of course, having higher pitch.Shifting the pitch lower will make the audio sound bigger with more bass, and of course having lower pitch.

Higher pitch -> tiny sound -> small subject/cute/toddler/

Lower pitch -> Bigger sound -> Big subject/Giant/Monster/Dinosaur

• Reversing

Reversing an audio can give a weird and unnatural sound.

• Mouth It

Vocalization is an important tool of sound design! Our voice is very flexible and you'l be surprise with the kind of sound you can create with it

All you need is a microphone.... And a lot of practice

Once you're done recording, play around with the techniques mentioned earlier, Pitch Shift, Reverse and Layer, etc..

Week4-Sound in space

In film, Diegetic is derived from "diegesis", which simply means the world of the film and everything in it. Sound is divided into three areas, two of which are the acoustic area, meaning that they cover the sounds that we hear, but cannot see the source. These are the sounds outside the screen that belong to diegesis. The last category covers the visual area, meaning that the source of the sound is visible on the screen.

Non-Diegetic sound, everything that the characters can’t hear is non-diegetic, this includes sound effects, music scores, and the form of narration. Non-diegetic sound can enhance movement. The boxing sounds we made this week are also based on this principle. The most consistent non-diegetic sound used is the soundtrack. Non-diegetic music plays an important role in the movie experience.

If the two sounds switch between the two modes, it is also called a trans-diegetic sound, which blurs the line between fantasy and reality.

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EXERCISES : Audio Fundamentals

Week1

The instructor provided us with a large amount of audio for this exercise, including four altered tracks in addition to the original track. In order to make the original recording sound as comparable as possible, we must identify it, compare it to the other four altered files, listen to the changes between them, then use a parametric equaliser to change the sound's frequency.

After seeing the instructor's instructional video, I got to work. We work with numerous tracks, label them individually to make them stand out, choose the effect's parametric equaliser, choose solo, and listen to just one track's sound.

fig 1.3 Tutorial Videos

Equalizer 1

fig 1.4 EQ1

Equalizer 2

fig 1.5 EQ2

Equalizer 3

fig 1.6 EQ3

Equalizer 4

fig 1.7 EQ4

Equalizer 5

fig 1.8 EQ5

Equalizer 6

fig 1.9 EQ6

filter-1

fig 2.0  filter-1

filter-2

fig 2.1 filter-2

Week 2
We received the audio source file in class this week from the instructor. In class, we used the parametric equaliser to modify the desired effect after cutting off a portion of the source file.

This is the noise emanating from the lavatory.

fig 2.2 Practice

Here is the sound of the phone

fig 2.3 sound of the phone

Here is the sound from the closet

fig 2.4 Here is the sound from the closet

The sound from the Walkie Talkie

fig 2.5 The sound from the Walkie Talkie

The sound from the Bathroom

fig 2.6 The sound from the Bathroom

The sound from the Indoor Stadium

fig 2.7 The sound from the Indoor Stadium

The sound from the Airport

fig 2.8 The sound from the Airport

Week 3-Sound Design Tools

In this exercise, we were asked to create punch and explosion sound effects using Adobe Audition, layering them to create multi-layered sound effects.

Explosion sound effects

For the explosion sound effect, we need to make it more impactful. I copied three explosion sounds based on the original explosion sound. I used stretching and pitch change. I lowered the pitch to make the explosion sound more tense and deeper.I added an echo at the end of the explosion to make it less monotonous and more in line with natural phenomena.

fig 2.8 Practice

Here is my finished product:

Punch Sound Effect

For this exercise, I used the phone call recording provided earlier as the base audio. Following the techniques taught by the lecturer, I experimented with sound editing to make the effect feel more ethereal and dynamic

fig 2.9 Practice

fig 2.10 Practice

Punch sound effect：

Week 4 – Environment Soundscape

This week, the lecturer provided us with two reference images. We were asked to analyze the ambient sounds that might exist in each environment and use the recommended website to collect, arrange, and modify the sounds to recreate the atmosphere shown in the pictures.

fig 3.1 Reference pictures

Environment 1:
My concept is based on a scientific laboratory. In this environment, there are no natural elements — only the mechanical and electronic sounds of laboratory equipment operating. At the beginning of the soundscape, I designed a series of intense, laser-like mechanical sounds, representing the machines working at full power. Gradually, the sound transitions into a calmer and steadier background hum, conveying the feeling of an experiment returning to normal operation after an active phase.

fig 3.2 Practice

fig 3.3 Practice

fig 3.4 Practice

To make the sound more realistic and suitable for a laboratory environment, I adjusted the parameters and added reverb, creating a slightly blurred and enclosed acoustic space that enhances the sense of being inside a functioning lab.

Final Environment 1：

Second Environment Soundscape

The second environment was more challenging. From the picture, I could see a large machine running inside, emitting a powerful laser beam. This suggested a strong, mechanical atmosphere. Instead of focusing on the people in the scene, my attention was mainly on the operational sounds of the machinery — the constant humming, mechanical rotations, and rhythmic movements that fill the entire space.

Since the environment has a strong technological feeling, I designed the soundscape to emphasize the energy and motion of the machines, using layered mechanical sounds and metallic tones to create a sense of tension and power within the scene.

fig 3.5 Reference pictures

I imagined a small script for this scene: a man and a woman are testing the experimental results inside the large laboratory. The soundscape begins with the soft background hum of the equipment, followed by the couple’s quiet conversation as they observe the data. Gradually, the machines activate, producing layered operational sounds that simulate the process of testing and adjusting the experiment. The rhythmic beeps, mechanical vibrations, and laser pulses convey a sense of precision and intensity within the scientific environment.

To further refine the effect, I adjusted the parameters to strengthen the sound dynamics and applied full reverb and blending, making the overall soundscape more cohesive and realistic for the laboratory setting.

fig 3.6 Practice

Final Environment 2：

Google Links：

https://drive.google.com/drive/folders/12cuU7icuw9YYmY8v9Uhu1paYFqn0IZE9?usp=share_link

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Feedback 

The lecturer mentioned that the concept and layering of sounds were clear and well-structured. However, more attention could be given to balancing the overall volume levels to make the transitions smoother. The teacher also suggested exploring more subtle background tones to enhance the sense of space and realism in the soundscape.

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Reflection 

Through this exercise, I learned how to combine multiple layers of sound to create a coherent environment. Adjusting pitch, reverb, and blending helped me understand how different sound parameters can shape atmosphere and emotion. I also realized the importance of maintaining balance between foreground and background sounds to make the environment feel natural and immersive.
This task allowed me to practice detailed sound editing and to build a stronger sense of spatial design through audio.