Sound Design Techniques

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
308MSDT credit 2 14 exercise hours (45 min) of instruction per semester, 40 to 50 hours of self-study English summer

Subject guarantor

Name of lecturer(s)

Department

The subject provides Department of Sound Design

Contents

•In film school, there isn’t much focus on conventional sound design elements and their creation. Although their usage in the majority of films produced at school would be minimal, gaining knowledge about their creation could be helpful to the beginning sound designer and, most importantly, fun.

•We will touch on sound for games since it’s tightly connected to this branch of sound design, and use one famous game cinematic, as a framing device, slowly inputting assets made by us and doing partial or full re-design.

•We will discuss sound layering, and manipulation on one hand, and potential usage and effect on the viewer/listener on the other.

•This module will consist of 4 chapters/sessions divided by different types of tools, such as granular processing or whoosh creation. These themes will be first shown in an audiovisual example, followed by discussion and experimentation. We will use homemade field recordings, snippets recorded by ourselves, generate sounds from scratch, and repurpose sounds from banks:

oWhoosh, rise, and Impact - the base of modern sound design

Why they are used, and how to make them by layering, shaping, or synthesizing.

oBending sound with standard tools

How to achieve specific sci-fi, horror, or fantasy-feeling elements with layering and using standard effects like filter, reverb, distortion…

Possible methods and approaches for synthesizing real or not-real sounds.

oGranular and spectral processing

Using granular processing or synthesis to get otherwise unobtainable sounds or resynthesizing sounds into more suitable versions of themselves.

Using spectral processing to subtract and add otherwise inaccessible parts of a given sound, or creating brand new ones in the spectral domain.

oRandomization and Voice

Explanation of the need for randomization in the context of games and films alike.

Weaponiser by Krotos

Sound Particles

Voice manipulation - creature sound design

•Each participant will have to present one sound design snippet of their creation.

Learning outcomes

•We will touch on different sound-design techniques and share experiments and tips that we found on the way.

Prerequisites and other requirements

•Students have to be proficient with their choice of D.A.W. to create their sound-design snippet.

Literature

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Evaluation methods and criteria

•Attendance and presentation of a short sound design snippet.

Note

for KZT and APPFI only, deadline for subscription April 9

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans