Spatial Audio Design | FINAL PROJECT
20/10/2025 - 2025 | Week 8-week10
Huang jiaqi | 0371553
Spatial Audio Design | Bachelor in Design (Honours) in Creative Media
Table of Content
Module Information
Lecture
Week 10
Final Project Briefing
- When the sound will happen
- What type of sound it is
- How loud or soft it should be
- State
- Choices
- Actions
Week 11
Week 11 was the consultation week, during which the tutor provided an explanation regarding the final assignment.
Final Project
Project 3 focuses on developing a Beta Prototype of a virtual environment where spatial audio acts as the primary storyteller. The objective of this project is not to redesign the entire game visually, but to demonstrate how binaural audio, multichannel sound, and ambisonics can drive narrative, immersion, and player experience within a virtual space.
Rather than replacing every single sound in the game, this project prioritises key narrative-driven and interaction-based audio elements, ensuring that spatial audio design enhances clarity, emotional impact, and environmental realism.
Our group consisted of myself, Guan Yu, and Zhou Yu Tong. The project emphasized not only technical execution but also collaboration, communication, and iterative improvement through user testing.
Team Collaboration and Workflow
We worked as a small production team, dividing tasks based on individual strengths while maintaining clear communication throughout the process.
My role （Huang jiaqi)
Organised and structured the audio asset list for the entire game.
Recorded home-based audio prototypes as early test sounds.
Participated in studio recording, focusing on monster (Chomper) sound design, including growls, attacks, and death sounds.
Conducted audio replacement and integration in Unity, ensuring correct spatial positioning and narrative consistency.
Guan Yu
Operated the recording studio equipment during the studio session.
Handled Unity scene construction and implementation, including spatial audio setup and testing.
Assisted in audio refinement and Unity audio replacement during Weeks 13 and 14.
Zhou Yu Tong
Recorded various audio assets for characters and interactions.
Used Adobe Audition to clean, edit, and polish recorded sounds.
Studio Recording and Audio Production
Before going to the studio, I conducted test recordings at home using the built-in Voice Memos app on my iPhone. This allowed me to experiment with microphone placement, recording techniques, and sound performance to ensure efficiency and quality during the studio session.
In Week 12, we booked the recording studio on Friday morning to record all necessary audio assets. This session allowed us to capture higher-quality recordings compared to home setups, particularly for expressive and dynamic sounds such as monster vocals and combat effects.
The recorded audio included:
Character sounds: Ellen’s movement, combat, and damage sounds
Enemy sounds: Chomper’s idle, attack, hurt, and death
Environmental ambience: forest atmosphere, wind, subtle environmental details
Interactable object sounds: doors, crates, pickups, switches
Mobile phone recording link:https://drive.google.com/drive/folders/1cqahmCozZmhDO1gIH39c_crMyQQlpVPs?usp=share_link
During Week 12 in the recording studio, we followed the Audio Asset List to systematically record all required sounds. Each sound category—character, enemy, environment, and interactable objects—was recorded according to the planned props and techniques. This structured approach ensured that every audio asset matched the project’s specifications and maintained consistency, making it easier for subsequent editing and integration into Unity.
we systematically followed the Audio Asset List to capture each sound category—character, enemy, environment, and interactable objects.
Recording studio audio link:https://drive.google.com/drive/folders/1Eu90btzkVbHyjWLTkouORzNTipkeGy1h?usp=share_link
This structured and well-equipped recording environment allowed us to capture high-fidelity, dynamic audio that met the project specifications and could be directly used for editing and integration into Unity.
The recorded audio included:
Character sounds: Ellen’s movement, combat, and damage sounds
Enemy sounds: Chomper’s idle, attack, hurt, and death
Environmental ambience: forest atmosphere, wind, subtle environmental details
Interactable object sounds: doors, crates, pickups, switches
Week 13 – Audio Editing and Integration in Unity
In Week 13, we focused on post-production of the recorded audio and integration into the Unity project. The process began with audio editing, where we cleaned up the raw recordings by removing background noise, normalizing volume levels, and applying minor effects such as EQ, reverb, or compression where necessary. Adobe Audition was primarily used for this stage, ensuring that each sound was polished and consistent with the game’s aesthetic.
In accordance with the division of responsibilities, Zhou Yutong is responsible for audio enhancement.
Audio Journal
Below is a record of my sound creation process, highlighting the best three audio selections from each category, for a total of nine key sounds.
1. Character Sounds (Ellen)
Process:
Used props such as cardboard, cups, and human voice to create realistic and dynamic movement sounds.
Recorded in the studio with condenser microphones and pop filters to capture high-fidelity audio.
Edited in Adobe Audition for clarity, consistent volume, and added slight effects (EQ, compression).
Top 3 Selected Sounds:
Character Jump
Audio_Shrink_Character Jump.mp3
Character Injury.mp3
Audio_Shrinkage_Character Injury.mp3
Character Death
Audio_Shrink_Character Death.mp3
2. Monster Sounds (Chomper)
Process:
Experimented with growls and hisses to convey different emotional states: idle, attack, hurt, death.
Recorded using human voice in the studio, applying multiple takes to achieve variety and expressiveness.
Selected the best takes and adjusted pitch and timing in Adobe Audition for realism.
Top 3 Selected Sounds:
Monster Death.mp3
Audio_Shrink_Monster Death.mp3
Monster Injury
3. Interactable Objects
Process:
Tested household objects to simulate doors, crates, and pickups.
Recorded multiple takes in the studio, experimenting with different materials and techniques.
Edited sounds for consistency and to make them blend naturally into the game environment.
Top 3 Selected Sounds:
Weapon Swing
Audio_Shrink Mix_Weapon Swing.mp3
Pick up items
Audio_Shrink_Pick up items.mp3
Walk (stone)
Audio_shrinkage_Walk (stone).mp3
Through this process, I learned the importance of pre-testing, using appropriate props, and editing to achieve high-quality, game-ready sounds. Selecting the top three sounds in each category allowed me to focus on creating a cohesive and immersive audio experience while ensuring efficient workflow for integration in Unity.
Editor's sound effects link:https://drive.google.com/drive/folders/1IZ8rZ2qH96b55HSB7FhWmEFt0ZZ2-wrY?usp=share_link
Unity Audio Integration-Huang jiaqi and Guan Yu
After completing the audio recording and editing in Week 13, the next step was to integrate the sounds into the Unity project. This process involved importing, replacing, and configuring all audio assets to ensure they aligned with gameplay mechanics and player interactions.
For reference
Importing Audio Assets
All finalized audio files were imported into Unity via the Project window. Each file was organized into folders according to category: Character, Enemy, Environment, and Interactable Objects.Replacing Placeholder Sounds
Existing placeholder sounds were replaced with the new high-quality recordings:Ellen’s footsteps, jumps, and combat sounds were linked to animation events and scripts controlling movement and attacks.
Chomper’s idle growls, attack, hurt, and death sounds were linked to AI scripts for proper timing during gameplay.
Interactable object sounds such as doors, crates, pickups, and switches were recorded and implemented by me and Guan Yu, ensuring they responded correctly to player interactions
Fig 1.10 Unity Process
Fig 1.11Unity Process
Fig 1.12 Unity ProcessConfiguring Audio Sources
Each audio source was adjusted for spatial blend, volume, pitch, and 3D sound settings to create immersive audio:3D spatialization was applied to footsteps, environmental effects, and interactable objects to reflect their positions in the game world.
Looping and trigger settings were applied to ambient sounds and continuous effects like forest ambience or dropship background.
Fig 1.13 Replace the audio process
Fig 1.14 Replace the audio process
Fig 1.15 Replace the audio process
Fig 1.16 Replace the audio process
Testing and Fine-Tuning
After integration, gameplay scenes were tested to ensure all sounds played at appropriate moments, with correct timing, volume, and spatial effects. Minor adjustments were made to pitch, volume, and delay to enhance realism and immersion. This process for interactable objects was carried out by me and Guan Yu, with Guan Yu providing guidance on technical settings.
Fig 1.17 Audio adjustment
Fig 1.18 Audio adjustmentGame testing
Fig 1.19 Game testing
Fig 1.20 Game testing
After integrating all audio assets into Unity, we conducted comprehensive game testing to ensure that sounds were correctly implemented and enhanced the gameplay experience. The testing process included:
Functionality Testing
Verified that all character sounds (Ellen’s footsteps, jumps, attacks, and damage) triggered at the correct animation events.
Checked that enemy sounds (Chomper’s idle growls, attacks, hurt, and death) were synchronized with AI behavior and responded appropriately to player actions.
Ensured interactable object sounds (doors, crates, pickups, switches) played reliably when interacted with.
Final submission of game video capture (with audio)
For the final submission, we created a gameplay video capture that showcased the completed Unity project with all audio fully integrated.
Youtube Link：https://youtu.be/E7nG_z83gCU
Google drive Link:https://drive.google.com/drive/folders/1AyzEiAKvchcRUi507UQaRiJ9YSfOeek5?usp=share_link
4. Feedback
During the game testing phase, feedback was gathered from both team members and external playtesters regarding the audio implementation. Key points included:
Character Sounds: Ellen’s footsteps and combat sounds were generally clear and responsive, though a few jump and landing sounds required slight volume adjustments to better match animation intensity.
Enemy Sounds: Chomper’s growls and attack sounds were effective in creating tension, but some hurt sounds were reported as slightly repetitive, suggesting minor variations could improve realism.
Environmental and Interactable Sounds: The ambience and object interaction sounds were well-received, enhancing immersion. However, some spatial audio effects needed fine-tuning to ensure proper directional perception.
Overall Audio Experience: Testers appreciated the dynamic and immersive audio environment. Suggestions included minor adjustments in pitch, volume, and delay for certain sounds to improve consistency and realism.
This feedback helped us identify areas for final refinement before project submission.
5. Reflection
Reflecting on the audio production process, several key insights and lessons were gained:
Pre-Recording Testing is Crucial: Conducting test recordings at home allowed us to experiment with props and recording techniques, reducing errors and improving efficiency in the studio.
Team Collaboration Enhances Quality: Dividing responsibilities clearly—character sounds, enemy sounds, interactable objects, and technical guidance—ensured each aspect was professionally handled and integrated.
Iterative Editing and Integration: Post-recording editing in Adobe Audition combined with systematic Unity integration helped maintain high audio quality and proper synchronization with gameplay.
Importance of Testing and Feedback: Multiple playthroughs and feedback collection were essential for identifying timing issues, spatialization errors, and inconsistencies, leading to a polished final audio experience.
Personal Growth: Through this project, I improved my skills in sound recording, editing, Unity integration, and collaborative workflow, while gaining a deeper understanding of how audio contributes to immersive gameplay.
Comments
Post a Comment