SONIC DESIGN / FINAL PROJECT - GAME AUDIO

23/09/2024 - 20/12/2024 / Week 1- Week 14
Chew Zhi Ern / 0358995
Sonic Design / Bachelor of Design (Honours) in Creative Media / Taylor's University
Final Project / Game Audio

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INSTRUCTIONS

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LECTURES

Lectures: Refer to Exercises

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PROJECT

FINAL PROJECT: GAME AUDIO

In this final project, we will bring a gameplay video to life by designing and implementing its complete audio experience. The task involves creating sound effects, foley, and voice recordings to enhance the game's immersive quality. We will plan and organize studio recording sessions for capturing foley and voiceovers, with access to portable recorders if needed. The project emphasizes creativity, technical skill, and the seamless integration of sound elements to elevate the overall gaming experience.

Choosing a gameplay video to work with was the first stage in the task. I chose BattleBlock Theatre because of had lively and entertaining graphics, which provided potential for imaginative sound design. The game offered a wide variety of audio problems and opportunities for Foley and music production because of its peculiar animations, character actions, and ambient transitions.

Figure 1. Original Video Game Reference

After selecting the gameplay video, I analyzed the visuals and listed every key action and event that required sound. I categorized the audio assets into environmental sounds, character actions, and special effects. This list served as a blueprint for the sounds I needed to record or synthesize.

Figure 2. Audio Assest List

With the audio asset list as a guide, I proceeded to record the necessary sounds using my phone. 

Figure 3. Recorded Audio

Below are some key sounds and the process of creating them:

1. Collecting Gems

For the sound of collecting gems, I recorded the sound of my car keys shaking to create a bright sound.

Figure 4.1.1 keys

The metallic jingling captured the playful and rewarding feeling of collecting items in the game. During post-production, I applied Adaptive Noise Reduction to remove any unwanted background noise and used the Parametric Equalizer to enhance the clarity and brightness of the sound, ensuring it stood out clearly in the mix.

Figure 4.1.2 Noise Reduction

Figure 4.1.3 Parametric Equalizer

2. Portal Sound

For the portal sound effect, I utilized a virtual violin from Virtual Piano. By playing the A6 key, I was able to produce a mystical, resonant sound that effectively conveyed the feeling of entering a magical portal. This sound required minimal editing, as the natural tone of the violin already captured the intended atmosphere.

Figure 4.2.1 Virtual Violin

As the recording was from a virtual source, the sound was clear enough and did not require denoising. But, to enhance the effect, I added reverb, which gave the sound a spacious and magical quality.

Figure 4.2.2 Reverb

3. Character Walking

To create the sound of walking, I tapped my fingers rhythmically on a wooden table to mimic footsteps.

Figure 4.3.1 Wood Table

In post-production, I applied Denoise to clean up any unwanted background sounds and used the Parametric Equalizer to emphasize the mid and low frequencies, replicating the subtle thud of steps on a wooden surface.

Figure 4.3.2 DeNoise

Figure 4.3.3 Parametric Equalizer

4. Character Kick

For the kicking sound effect, I waved a plastic hanger through the air, capturing a swift “whoosh” sound. The simplicity of this recording effectively conveyed the swift motion of a kick.

In post-production, I trimmed the recording to isolate the desired portion, ensuring a clean and precise effect.

Figure 4.4.1 DeNoise

5. Character Jump

The jump sound effect was created using a hair dryer. I recorded the sound of air being expelled rapidly, which simulated the rush of wind associated with a character's leap.

Figure 4.5.1 Hanger

In post-production, I used Adaptive Noise Reduction to remove mechanical hums, applied the Parametric Equalizer to shape the sound’s tone, and added a Flanger effect to give it a dynamic, slightly futuristic quality.

Figure 4.5.2 Adaptive Noise Reduction

Figure 4.5.3 Parametric Equalizer

Figure 4.5.4 Flanger

6. Throwing the Bomb

The sound of throwing the bomb was creatively derived by reversing the recorded kick sound. This reversal added a unique and intriguing quality, aligning well with the visual of the bomb being thrown.

Figure 4.6.1 Reverse

Figure 4.6.2 Stretch and Pitch

7. Bomb Countdown Beep

The bomb countdown beep was created by recording the sound of pressing an induction cooker button. 

I denoised the recording in Adobe Audition to eliminate any unwanted background sounds and used the Parametric Equalizer to enhance its sharp, rhythmic quality, ensuring it fit seamlessly into the gameplay.

Figure 4.7.1 DeNoise

Figure 4.7.2 Parametric Equalizer

8. Music Tracks

Finally, for the opening music, victory stage music, and ending music, I recorded myself playing the guitar. This provided a warm and organic feel to the soundtrack, with each piece conveying its respective mood: excitement for the opening, triumph for the victory stage, and closure for the ending.

Figure 4.8.1 Music Tracks

Once all the sounds were sequenced, I meticulously checked the audio levels to ensure they were balanced and consistent. Adjustments were made to prevent any sound from overpowering others. 

Figure 5. Audio Levels Setting

Figure 6. Adobe Audition Workspace

After verifying that all sounds were properly synced and balanced, I performed final adjustments to enhance the overall mix. The completed audio track was then exported and imported into Adobe Premiere Pro, where it was synchronized with the gameplay visuals. This final step brought the video to life, creating an immersive and cohesive audio-visual experience.

Figure 7. Sync in Adobe Premiere Pro

Figure 8. Final Audio Mixdown

Figure 9. Final Outcome

In addition to sound effects, I incorporated background music to enhance the overall atmosphere of the gameplay video. I carefully selected tracks that complemented the game's tone and pacing.

Figure 10. Outcome with Background Music

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REFLECTIONS

Experience:

The Final Project was the culmination of everything I learned throughout the Sonic Design module. This task required us to select a gameplay video and design a full soundscape to bring the game to life. From designing foley sounds to voice recording, this project required careful thought and creativity to ensure the audio matched the visuals seamlessly. I chose to record all sounds at my own place using my phone, which presented both unique challenges and valuable learning experiences.

Observations:

One of my key observations was how crucial Foley sounds were in enhancing the gameplay's realism. Everyday objects around my home, like tapping on a table or the rustling of paper, became essential tools to simulate in-game sounds. While using my phone for recording was convenient and allowed me for spontaneous experimentation, though I noticed that environmental noise and sound quality could impact the final output, requiring additional editing to clean up the recordings. Another key observation was the importance of syncing sounds perfectly with the visual cues to ensure the game felt dynamic and engaging.

Findings:

Through this project, I discovered that sound design goes beyond technical skills; it involves creative problem-solving and experimentation. Despite not using a professional studio, I was able to achieve decent results by carefully selecting recording locations and applying post-production techniques like noise reduction and equalization. This experience highlighted the importance of adaptability, as I had to improvise with everyday objects to create authentic Foley sounds. I also learned how layering multiple sounds can create a richer audio experience.