Spatial Audio Design | Project 3-Audio Storytelling
20/10/2025 - 2025 | Week 8-week10
Huang jiaqi | 0371553
Table of Content
Module Information
Lecture
Week 9
In this week's class, we learned on microphones as we start on our second project. Every microphones has different polar patterns.
Types of microphones:
- Dynamic microphone
- Condenser microphone
- Shotgun microphone
Patterns:
- Omnidirectional
- Cardioid
- Hyper cardioid
- Figure of Eight
Patterns of Microphone
We choose the patterns based on the place of recording.
Proximity Effect:
As a sound source moves towards a directional microphone an increase in response to low frequency to occur.
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The closer you get, the more Barry White you get.
*The smaller the room, the less white noise you will get.
*Tips: Record 2-3 seconds of white noise before starting on recording the voice
Noise Reduction
*Aim is to reduce the noise without altering the voice
- Make sure the noise is reduced as much as you can
- Find a stable voice part from the track
- Select the part > Effects > Noise Reduction > Capture noise print
- Select whole track > Effect > Noise Reduction (process)
- Reduce dB
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Capture Noise Print
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Noise Reduction (Progress)
*Make sure the volume is consistent
- Reduce dB for some sounds that stands out
Effect Rack - Dynamics
*AutoGate (If able to reduce the noise, no need to use autogate)
- Threshold (-30)dB: Nothing can pass by (-30)dB
*Compressor - To even the voice (be careful on how much we squeeze the voice)
- Threshold (-18)dB
- Ratio (3.2)
- MakeUp (6)dB
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Dynamics
Effect Rack - DeEsser (Need to listen to the whole track)
- Threshold (-40)dB
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Final Noise Reduction
Frequency Analysis
- Avoid having too much bass - use equaliser to adjust it
Add video track to sync. Export multitrack mixdown. Put it in Adobe Premiere Pro and export the video.
Project 3-Audio Storytell
For this project, we were required to select a familiar fairy tale and transform it into an audiobook. Compared to the previous auditory imaging task, this assignment takes a deeper step into the craft of sonic storytelling. Not only do we need to curate the appropriate sound effects, but we also have to perform the narration and character voices to enrich the emotional texture of the story. Later, visual elements will be added to complete the final stage of Task 3.
I chose “The Selfish Giant” as the story for my audio production. After confirming the script, I recorded the narration using the built-in Voice Memos app on my iPhone. To maintain clarity and consistency, I recorded the lines sentence by sentence, allowing me to control pacing, tone, and emotional emphasis more precisely. This method helped me polish each part and avoid unnecessary mistakes, making the editing process smoother.
| fig1.1 Screenshot of recording |
After completing the preliminary recording of all the voices, I imported the audio files into Adobe Audition for post-processing. According to the teacher's demonstration steps in the classroom, I began to carefully modify the sound to make it closer to the atmosphere of the story and more in line with the standards of professional audio.
First of all, I use the Parametric Equalizer to adjust the frequency of the sound to make the overall sound cleaner, warmer and easier to listen to. Then, I carried out Noise Reduction according to what I learned to remove the residual background noise and slight noise in the recording environment. In order to make the narrative sound more natural and smooth, I also added De-Esser to reduce the harshness caused by the excessive "s" sound.
These treatments gradually made my voice from the simple state of the original recording to a more narrative - like a layer of softer and clearer light. The whole production process also made me deeply aware of the importance of the audio post-production: a simple recording can present a completely different emotional texture after adjusting the details.
After completing the processing of narration and character voice, I entered the stage of background sound and sound effect design. This process is like slowly filling in color on the black-and-white line draft - emotions begin to grow and the picture begins to become three-dimensional.
In order to make the world of Giant's Garden more immersive, I have selected a suitable ambient sound from multiple sound effect material libraries. For example, the peaceful atmosphere of the garden requires the soft wind and the faint swinging of leaves to create peace before the change of seasons; and when the giant appeared, I added thick footsteps to make his debut weighty and rhythmic.
According to the scene of the story, I also designed different sound field levels:
When spring comes, I superimposed the birdsong and the light natural sound, so that the picture slowly wakes up from the cold winter;
When the giant changes his mind, I use a warmer and brighter background sound to symbolize the turning point of emotions;
The passages of children running and playing are added with slight laughter and movement, so that the audience can "see" the vitality.
Every sound is like a paint painted in the air. Through the multi-track editing mode of Audition, I constantly adjust the volume, position and fade-in and fade-out, so that the sound effect and narration support each other instead of robbing each other. The ultimate goal is to let the audience close their eyes and walk into the giant's garden - there to walk with the four seasons and breathe with the story.
After finalizing the sound design, I adjusted the overall balance by amplifying my narration and slightly lowering the volume of the background effects. This made the listening experience more comfortable and ensured that the storytelling remained clear and expressive.
For the visual component of the project, I completed the editing using (CapCut). I imported all the processed audio along with the selected images, arranging them on the timeline to match the pacing and emotional rhythm of the story. Since my initial video was around six minutes, I trimmed it down to three minutes, refining the flow and strengthening the coherence of the narrative.
Final Submission
For my final output, I exported the completed video from (CapCut), combining the fully edited audio, curated images, and bilingual subtitles into one cohesive piece. The story transitions, refined pacing, and balanced sound design all work together to create an engaging three-minute audio-visual narrative. This final version reflects the entire process—from recording and cleaning the narration, to designing sound effects, arranging visuals, and shaping the emotional rhythm of the story. It represents my interpretation of The Selfish Giant and my effort to bring its world to life through sound and imagery.
Google Docs link：https://drive.google.com/drive/folders/18FWhOimeVF_V2qoJbhR0zlis1Iuw9oDl?usp=share_link
Feedback
This audio storytelling project has provided me with valuable practical experience. Through recording the fairy tale The Giant's Garden, I learnt how to voiceover line by line and mastered the emotional expression of the voice. Furthermore, by adjusting the equalisation, eliminating sibilance, and reducing noise in Adobe Audition, I came to appreciate the importance of audio processing in enhancing the overall auditory experience.
The process of adding background sounds and sound effects also made me realise that appropriate audio can heighten a story's atmosphere, making it easier for listeners to immerse themselves in the narrative. Finally, editing the audio alongside visual content in JinYing enabled me to master skills such as synchronising audio and video, creating subtitles, and controlling the pacing of the video.
Reflection
This project has provided me with a more comprehensive understanding of audio storytelling production. Initially uncertain about selecting appropriate background sounds and managing volume balance, I gradually mastered these techniques through practice. I discovered that sound effects should never overshadow the narrative but rather serve it, making the story more vivid.
Simultaneously, I recognised the critical importance of time management: compressing the video from six to three minutes required meticulously orchestrating the rhythm of visuals and audio while preserving narrative integrity. This experience underscored that creation is not merely about expressing ideas, but also about patiently refining every detail.
Moving forward, I aspire to further refine my skills in sound processing and multilingual subtitle production, enhancing the visual and auditory appeal and impact of my work.
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