SONIC DESIGN/ EXERCISES

Naura / 0356798 / Interactive Spatial Design
VSA60304 / Sonic Design
Weekly Exercises

JUMP LINKS:

• Weekly Sonic Lectures
• Week 1 - Equalizing Sounds
• Week 2 - Sound Shaping
• Week 3 - Sound Layering and FX
• Week 4 - Sound in Space

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Week 1 exercise: Equalizing Sound

To do:

• Use the Parameter Equalizer to adjust the 6 provided edited tracks and match them to the original soundtrack (Flat).

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I reference the given video guide since I have difficulty identifying the differences by ear.

Fig 1.1 EQ 1

Fig 1.2 EQ 2

Fig 1.3 EQ 3

Fig 1.4 EQ 4

Fig 1.5 EQ 5

Fig 1.6 EQ 6

Fig 1.7 Filter 1

Fig 1.8 Filter 2

My thoughts:
This exercise was more challenging than I expected because I’m not a keen listener. I hope my adjustments made the edited tracks sound closer to the original, but I’m still unsure which exact frequencies needed tweaking. Interestingly (although it's quite obvious) , I found that listening without any cloth or obstruction around my ears made a noticeable difference in perception. However, focusing on these subtle sound variations for a prolonged period did give me a bit of a headache! 😅

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Week 2 exercise: Sound Shaping

To do:

• Use the Parameter Equalizer to adjust the sampled voice to match certain environments or situations.

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Fig 2.0 | Telephone Effect EQ Graph

Fig 2.1 | Telephone Effect mp3

Fig 2.3 | Muffled Effect EQ Graph

Fig 2.4 | Muffled Effect mp3

Fig 2.5 | Walkie Talkie EQ Graph

Fig 2.6 | Walkie Talkie mp3

Mr. Razif then introduced us to the Reverb filter, explaining how we could adjust settings like early reflections, diffusion, perception, decay time, and dry/wet levels to capture the essence of a specific environment. He provided two scenarios for us to experiment with: the confined space of a small bathroom and the expansive atmosphere of a stadium. Here are my depiction of the audio in these two simulations:

Fig 2.7 | In the Bathroom Environment

Fig 2.8 | In the Stadium Environment

My thoughts:
I experimented by talking to myself in the bathroom and revisiting videos from the 2024 Asia Cup to recall stadium acoustics. Through this, I learned that adjusting Decay Time helps simulate different room sizes—longer times for a spacious stadium feel and shorter times for a more confined space. Pre-Delay affects distance perception, with higher values reflecting larger spaces. Diffusion controls reverb smoothness, and Perception balances between an absorbent, soft room and a reflective, echoey environment.

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Week 3 exercise: Sound Layering and FX

To do:

• Experiment with various effects and the parametric equalizer to design explosion, firecracker/firework, and three-punch combo sound effects.
• Be sure to layer the given samples with different effects to achieve a richer and more dynamic sound.

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This week, we explored various audio effects like phaser, chorus, stretch, and pitch shifter. Sir Razif demonstrated how these effects could be applied to something like an explosion sound to create a more layered, nuanced version of it. The Phaser added a sweeping, spacey feel, while the Chorus thickened the sound by duplicating and slightly detuning it. Using the Stretch effect, the timing of the explosion was altered without changing the pitch, and the Pitch Shifter changed the pitch while keeping the speed the same. It was fascinating to see how these subtle changes completely transformed a basic explosion into something more complex and dynamic. Here’s my approach to layering the explosion sound:

Fig 3.0 | Explosion SFX

For the fire cracking sound, I applied the distortion effect from the "Special" rack on the sample explosion sound. I experimented (a long timee may I add) with the drive and tone settings to achieve a more "gritty" texture. This is my take on recreating a fireworks show, though it's not my best, as I'm still unsure how to make the transition from the bursting to the crackling sound smoother.

Fig 3.1 | Firework SFX

Fig 3.2 | Punching Combo SFX

My thoughts:
This week's exercise was challenging for me because I haven’t fully explored the range of effects that Audition offers, and I'm still not sure what many of them do. However, it was fascinating to see how, even though my friends and I used the same effects, they sounded completely different based on the settings we adjusted to suit our preferences. This lesson ties in nicely with what we're learning in the game development module.

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Week 4 exercise: Sound in space

To do:

• Create a panning effect of a jet plane zooming by as if it’s flying right in front of you.
• Simulate the sound of someone talking on the phone while walking past.
• For the main exercise, bring the visual elements to life through sound. Carefully dissect and analyze each image, then craft a soundscape narrative based on our interpretation of the scene.

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Fig 4.0 | My Envelop Controls (Volume, Panning, and EQ Band 5 Gain)

Fig 4.1 | Jet Plane Flying Past mp3

Fig 4.2 | Sample Voice Envelop Controls

Fig 4.3 | Someone passing by in front mp3

The primary task is to design a soundscape inspired by two specific pieces of concept art. We can look for appropriate royalty-free sound effects online and use Adobe Audition to layer and manipulate them for the final composition.

Fig 4.4 | Environment 01

This image shows a futuristic research facility, with a large cylindrical glass tank at the center as its focal point, housing a massive plant. Two figures, seemingly military personnel, are casually engaged in conversation nearby. The room is filled with various consoles, screens, and workstations, scattered throughout the space, adding to the high-tech atmosphere. Below are the list of sounds I used in this environment:

I want the person that steps into the space to be immediately surrounded by the ambient hum of machinery and the low, technical drone filling the room. As they move deeper into the environment, they become drawn to the enclosed tree at the center. As they approach, the general mechanical noise begins to fade, replaced by the subtle hissing of air being released, the soft bubbling of water inside the containment tube, and the gentle rustling of the tree’s leaves. Below is how my workstation look like:

Fig 4.5 | Environment 01 Audition Multitrack

Though I'm not sure if I was able to encapsulate what I want but this is my outcome: 

Fig 4.6 | My interpretation of Environment 01

Fig 4.7 | Environment 02

The second environment shows a futuristic industrial lab where a huge laser machine is at the center, projecting a blue beam across the room. Two scientists stand nearby, engaged in conversation or monitoring the laser, while additional figures work in the background. The room is filled with massive pipes, ducts, and holographic displays. Therefore these are the sounds being used:

I want the person to enter the room holding notes on their experiment. They activate the machine, which releases a burst of steam as it powers up. Slowly, the machine begins to charge, emitting a deep hum until the laser finally fires. After the beam finishes, the laser cools down with a crackling static sound. The person then interacts with the holographic touchscreen, using it to safely shut down the machine.

Fig 4.8 | Environment 02 Audition Multitrack

Fig 4.9 | My rendition of Environment 02 Soundscape

My thoughts:
I explored how various elements—such as atmosphere, objects, and actions—can be translated into sound, allowing me to think creatively about how to use audio to enhance the visual narrative. It was a challenging yet enjoyable process, as it pushed me to think critically about sound design. I realized I need to further develop my ability to use sound to evoke emotion and elevate the overall experience. This project ultimately deepened my appreciation for the role sound plays in storytelling, while also helping me build practical skills in both creative interpretation and technical audio design.

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