Sonic Design / Lecture and Exercises
Week 1 - Week 5 (23 September 2025 - 21 September 2025)
Muhammad Zaky Aulia [0367842]
Bachelor of Computer Science
Exercises and Audio Fundamentals
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LECTURE
WEEK 1 / Module Briefing
For the first week of Sonic Design, Mr. Razif introduced us on what we will be doing throughout the entire semester for our class. He explained to us all the tasks, starting with the exercises to get used to Adobe Audition and another brief explanations regarding the second, third, and final project. Mr. Razif also gave us headphones recommendation that would be the most appropriate for the module.
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WEEK 2 / EXERCISE 1: Equalizing Sound
For our first exercise of the semester, Mr. Razif sent us multiple audio tracks for us to import into Adobe Auditions. The audio tracks include the original sound file, which is devoid of any filters and editing, and 8 other sound files which are variations of the original sound files with slight editing and filters. Below are the given sound files for the exercises;
Figure 1.1, Given Sound Files.
The goal of the exercise is to adjust each of the sound files to sound as similar as it could to the original sound file. The main tool of this exercise is the Parametric Equalizer, a tool that offers continuous control over the audio's signal's frequency content, which is divided into several bands of frequencies.
Below is what the Parametric Equalizer tool looks like, before any configurations and changes;
Figure 1.2, Parametric Equalizer Menu.
EQUALIZING PROCESS
EQUALIZING 1
Figure 1.3, Sound File eq-1 Equalizer Window.
EQUALIZING 2
Figure 1.4, Sound File eq-2 Equalizer Window.
EQUALIZING 3
Figure 1.5, Sound File eq-3 Equalizer Window.
EQUALIZING 4
Figure 1.6, Sound File eq-4 Equalizer Window.
EQUALIZING 5
Figure 1.7, Sound File eq-5 Equalizer Window.
EQUALIZING 6
Figure 1.8 Sound File eq-6 Equalizer Window.
EQUALIZING FILTER-1
Figure 1.9 Sound File filter-1 Equalizer Window.
EQUALIZING FILTER-2
Figure 1.10 Sound File filter-2 Equalizer Window.
For each of the sound files, I had to use the solo function and keep comparing it with the original sound to achieve the best outcome.
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WEEK 3 / EXERCISE 2: Sound Shaping
For our second exercise of the semester, Mr. Razif sent us another file filled with sound files. This exercise will only be using the file called "sample_voice.mp3" . We will be using the Parametric Equalizer to match the sound file with different environments and situations.
PARAMETRIC EQUALIZER sample_voice.mp3 edit - Telephone Call, Closet, Walkie-Talkie.
TELEPHONE CALL Figure 2.1 Telephone Sound Effect.
Figure 2.2 Telephone Effect Equalizer Graph.
CLOSET
Figure 2.3 Closet Effect Equalizer Graph.
WALKIE-TALKIE
Figure 2.4 Walkie-Talkie Sound Effect.
Figure 2.5 Walkie-Talkie Effect Equalizer Graph.
REVERB & PARAMETRIC EQUALIZER sample_voice.mp3 edit - Bathroom, Indoor Stadium, Airport
The second half of the exercise, Mr. Razif introduced us to the Reverb tool, a tool that helps us to edit the audio to give a feeling of additional layers and depth. For the remainder of the exercise the use of both Reverb and Parametric Equalizer is encouraged, in this case, I used the Reverb tool for all of the sounds and an additional Parametric Equalizer for the Indoor Stadium.
BATHROOM
Figure 2.6 Bathroom Sound Effect.
Figure 2.7 Bathroom Effect Reverb Setting.
INDOOR STADIUM
Figure 2.8 Indoor Stadium Sound.
Figure 2.9 Indoor Stadium Effect Reverb Setting.
Figure 2.10 Indoor Stadium Effect Equalizer Graph.
AIRPORT
Figure 2.11 Airport Sound Effect.
Figure 2.12 Airport Effect Equalizer Graph.
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WEEK 4 / EXERCISE 3: Sound in Space [SPATIAL]
For our third exercise of the semester, we will be focusing and doing a couple number of things. The first thing we did during the class is to experiment Stereo Balance and Volume of a sound file, the sound file being of a Jet Plane flying across.
JET PLANE SOUND BALANCE
Since we wouldn't be adjusting the Stereo Balance and Volume of the sound file manually, Adobe Audition offers the feature of having either a clip automation, where the changes of both values would only effect the selected clip, and track automation, where the changes affects the entire track and the graph is specific to the timing of the track.
JET PLANE - CLIP AUTOMATION
Figure 3.1 Jet plane Clip Automation.
Figure 3.2 Jet Plane Track Automation.
DISTANCE & LOCATION EXERCISE
sample_voice file - WALKING FROM LEFT TO RIGHT
With the use of "sample_voice.mp3" from the previous week, this exercise asks us to create the sound file so as if the person in the sound file is talking from your left side and slowly going to your right side. This exercise should incorporate the usage of Volume, Stereo Balance and slight EQ Automation.
Figure 3.3 Sound Graph of Lady Talking from Left to Right.
Figure 3.4 Sound file of Lady Left to Right.
sample_voice file - WALKING INTO CAVE
Using "sample_voice.mp3" again, this exercise asks us to simulate a situation where the person is talking right in-front of you, where one would assume that the voice should be loud, clear, crisp, and sharp, until the person walks away, but is still talking, where the voice would become softer gradually. Whilst at the same moment as she is walking away, the person would be walking into a cave where a reverb would be present.
The tools that would be use would be the automation of Volume, Parametric Equalizer [High Shelf Gain, EQ Band Gains], Studio Reverb [Wet Output Level].
Figure 3.5 Sound Graph of Lady Talking to Person then Slowly Walking away to a Cave.
As seen above, to achieve the wanted product of a sound-file to simulate someone talking to you then slowly walking away to a cave, requires quite a bit of editing and automation of said edits. First, to achieve the illusion of the person walking away, the volume has to automatically dim slowly. Secondly, you have to make the person's voice to slowly be muffled, as in real life, a person's voice wouldn't be as sharp if they were to talk and walk away from you. Lastly, to simulate that the person is going into a cave, an automatic reverb had to be added. The settings for the reverb were already settled, look below for the settings of the reverb, so I only had to automate the wetness of the Reverb.
Figure 3.6 Reverb Settings for Distance and Location Exercise.
Figure 3.7 Sound file of Lady Going into Cave.
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WEEK 4 / EXERCISE 4: Environment Sound Composition
For our forth exercise, we were given two different concept arts, each being of a distinct environment, however both are still quite industrial by atmosphere. From this, we were tasked to create an ambience sound mix that would best describe or even narrate to the listener on what the supposed environment is, even without any visuals.
We were given two websites containing royalty-free sound effects that are available to download and would assist us in proceeding with our exercise, those websites being;
- FreeSound.org : https://freesound.org/
- BBC Rewind : https://sound-effects.bbcrewind.co.uk/
FIRST ENVIRONMENT SOUND COMPOSITION
Figure 4.1 First Given Concept Art.
As seen above, the concept art visually shows what seems to be a highly guarded scientific/military base, where it seems that trees are highly valuable. Before I proceed with sound mixing, the first step I would do would be to observe the concept art deeply and list down what would make sense and fit in this environment. Since the task is to only create an environmental sound composition, the presence of a narrative wouldn't be needed.
From what I have observed of the concept art, even though the artwork is set in a militarized base/laboratory, it still gives off a hint of "peacefulness" due to the mixture of nature that is conserved and the ray of sun. I will try to go for a more science-fiction feeling that is mixed with a hint of "nature".
Below would be the list of sounds and their download links that I would mix to create the sound composition fitted for this concept art;
Figure 4.2, Lists of Sounds and Sources.
SECOND ENVIRONMENT SOUND COMPOSITION
Figure 4.3, Second Given Concept Art.
The second given concept art shows a visualization of a much more machinery-heavy setting compared to the previous concept art. Whereas the last soundscape gives off an echoing chamber of science-fiction that is a tad "peaceful" due to the mixture of conserved nature. For this concept art, I will be aiming for a much heavier and industrial feeling that would give the listener a sense of coldness and metallic-ness in the air.
As with the previous soundscape, below is the list of the sound effects I'll be using in the mixing of the concept art;
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