SONIC DESIGN / FINAL PROJECT

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CHIAH CAI JUN 0365352

Bachelor of Interactive Spatial Design / Taylor's University

Sonic Design / Sept 2025

Week 11 - Week 14

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LECTURES


week 11
- game audio
- two type of artist doing sound performance: folay

- video storyboard (blueprint)
- linear media (cue spotting): detect certain element in audio
- a plot happening over time

- film is linear
- game is not linear, things happen based on a player's event (state, choice and action)
- video game no spotting
- can predict what will happen, but dk when will happen
- event mapping (determine all possible actions that would require sound or change in sound state)
- trigger: represent when you do something
- document: write down and describe the sound effect for each event (priority, action category, task, remarks)
- case study, precedent study on the music and sound effects used from the reference that clients provide (the vibe that they wish to represent)
- referring from the game design document (GDD), the blueprint on how to produce the game, from there we can know what sound effects and music are needed for that game


project brief
- 4 game video provided, we can choose one out of the four choices
- identify the sound needed
- sound effects can not be ignored (the small parts)
- detailing the sound
- need ambient sound
- make it realistic, even if the thing is not visible for the current view, the small sound behind still need to be there or not the sound will just happen in sudden
- can do a series of reference list (refer more game videos to get inspiration on how they add the sound effects and music seamlessly in the game)

- audio editing and manipulation journal (document only 5 best sound effects and record the editing process)

- chorus: add number of voices (manipulate and do vibration on voice) (Creates a thick, rich, and "shimmering" sound by making a single instrument sound like multiple ones playing in unison.)
- adding delay in chorus will show "echo"
- flanger: create swirl, create long decay (Creates a dramatic, metallic "whooshing" or "jet plane" sound)
- explore the preset given and can modify from there
- phaser: spacy sound effect (Creates a swirling, sweeping, or psychedelic "swooshing" effect.)

- effects > generate > tones (generating tone)
- explore the tone generator preset and settings

- effects > time pitch > pitch bender (bend the sound over time)
- scenario for car running to stopping
- pitch up (starting engine)

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FINAL PROJECT: GAME AUDIO DESIGN

Instructions
In this project, we are required to choose one game video from the four options provided and develop the game audio all from scratch. We need to plan and generate sounds from items around us, while getting the chance to use the recording studio to record clean audio without distractions.



Reflection
Working on game audio design has been a highly engaging and educational experience. I learned how sound influences gameplay, emotion, and player feedback, from creating punchy effects for hits to layering ambient sounds for immersive environments. Besides, experimenting with techniques like pitch bending, layering, and frequency adjustments taught me how subtle changes can greatly enhance realism and player engagement. 

Challenges like finding the right sounds pushed me to be creative and resourceful, while feedback helped refine my work. Overall, I gained a deeper appreciation for how audio shapes the gaming experience and learned practical skills to bring virtual worlds to life.


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