Republic Polytechnic
School/Centre:
Academic Year:
Module Name:
Module Syllabus: T214 Sound Design
School of Technology for the Arts
AY12/13 (Sem 1)
T214 Sound Design
Module Description
This module introduces students to the field of creative sound design. Students will explore representative techniques and approaches using
audio technology, to develop and implement sound design for standalone audio projects, or in conjunction with other media. Through
engagement in creative project work, students will learn about studio operations, field sound acquisition, synthesis, sampling, digital signal
processing,
routing, and software instruments. Students will gain firsthand experience in operating digital audio workstations with attached peripherals
like MIDI controllers and audio interfaces. Students will also be able to classify sounds, genres, target audiences and sonic attributes during
production with consideration to an intended creative/art direction. The range of skills acquired through this module can be applied to the
production and management of sound for music, video and interactive projects.
Learning Objectives
This module aims to provide an understanding of the fundamental concepts behind the practical and theoretical applications of sound design.
By the end of this course, students should be able to:
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Understand basic fundamentals of sound in preparation for specialist modules in the DSA curriculum.
Understand that sound design is a creative process that combines technical, artistic and analytical abilities.
Developed their ability to critically listen and evaluate sound.
Understand and be aware of various design considerations specific to the medium the sonic creation is intended for.
Understand how design and technical execution communicates as a whole.
Understand the use of sound as a storytelling element.
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Understand differing aspects of designing sound for various genres and media.
Develop an appreciation for fundamental and diverse design solutions/techniques and an understanding of design practices utilized in
sound design.
Develop an understanding the processes of reinforcing an environment with sound.
Understand varied design approaches to text, concept and image and transpose and translate it into an aural experience.
Understand and use appropriate working vocabulary of sound design and production.
Understand and be able to take on roles and responsibilities of members of a sound design and management team
Understand the production process and apply fundamental sound acquisition, manipulation and reinforcement skills.
Module Coverage
Discussions
in
Study Cluster
2
1.
Introduction to Sound Fundamentals:

Sound production, propagation and perception
(frequency / amplitude / spectrum)

Gain a basic understanding of how the human
auditory system functions
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Explore the differences between passive hearing
and active listening, and how to engage the
latter mode consciously
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Resource Gathering
and Team Work
2
Formal
Lab
Experiment
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Formal
Lab
Experiment
Problem Trigger
Explain “sound” from the perspective of … (pick one)
(A)
(B)
(C)
(D)
(E)
A pair of ears
A pair of loud speakers
A microphone
A larynx or voice box
A musical note on the piano
Feel free to draw on additional resources for your 10
to 15 minute presentation at third meeting.
2.
Introduction to Digital Sound Fundamentals:

To facilitate the sharing of general knowledge in
audio production through researching a wide
range of sources and manifesting their
understanding in a comprehensible manner.
Identify sampling frequencies, resolution and
multi-channel editing by definition only.
Identify fundamental industry terminology
related to sound design in both digital and
analogue environments.
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
1
Problem Trigger
Setting up a Session in Pro Tools: What do I
understand about digital audio and the role of Pro
Tools in sound design?
1.
Distinctions between analogue and digital audio
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1
2
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2.
3.
4.
Sampling rates and audio resolution
Destructive and non-destructive editing
Decibel as a unit of measurement in relation to
digital sound
3.
Editing Audio Narratives using Software

Use editing tools within Pro Tools or any other
stereo editor to perform trimming, splicing and
cross fading.
Use keyboard shortcuts to access common
editing tools like, zoom, trim, selector, grabber,
scrub and pencil.
Use shuffle, spot, slip and grid mode to navigate
audio regions in the Pro Tools session view.
Identify ruler views for bars and beats, minutes
and seconds, as guidelines for editing.
Mix two tracks, one mono (voiceover) and one
stereo (music).
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Problem Trigger
Read the following script and use it as a reference
when you listen to the recorded interview.
Music
Could you please introduce yourself?
Jonathan Cain: Yeah my name is Jonathan Cain I’m the
keyboardist from Journey. since 1981. I was with the
“Babies “ before that, for those of you fans who
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4
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remember the “Babies” from the 70s with John
Wade?
He played too today.
Jonathan Cain: Yeah he played too, was he by himself,
or...?
With a band.
Jonathan Cain: Oh with a band, okay yeah, cos he was
touring acoustically in the states.
Okay, but he was very tired after the set so he wanted
to leave the site as soon as possible.
Jonathan Cain: That’s very John Wade right there.
Pause
Right on the road again with the band? It feels good?
Jonathan Cain: It feels good. This is one of our goals,
when we started out in 98, and we had our first
successful tour, one of the things that came out was…
You will need to edit the rest of the interview down to
7 minutes, while still maintaining a flow. The contents
have to make sense to the listener.
There has to be a break after exactly 3.5 minutes of
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Allocated time per day
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Experiment
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Lab
Experiment
the interview for a short radio commercial. Punch in
some music at the beginning of the interview and
fade that music down before the interview begins.
Fade in music before the end of 3.5 minutes. Do the
same for part two.
In other words, split the interview into two parts. You
don’t have to produce the commercial.
For next week, tell students to bring two mp3s of
oldies music from the 70s and 80s.
4.
The basics of manipulating sound with music
and narration in a mix for radio
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Understand how to trim music with fades
Recording narration with a basic microphone
paying careful attention to recording levels
Inserting advertisement and jingles
Saving projects and exporting audio files into
different formats
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1
Problem Trigger
My first Podcast
You have been commissioned to produce the first
episode of a radio show. You will need to record the
following spots to be added to the radio show:
Spot 1 (30 seconds): “They say there are only two sure
things in life: death and taxes. At RSC Equipment
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1
2
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Rental, we know there’s a third one: Rent our
equipment and raise your profits. When you rent
industrial equipment from RSC, you avoid the costs
and hassles of purchasing equipment. So why buy?
Just call your local RSC store, (Store Name). RSC
Equipment Rental. Rent our equipment; raise your
profits.”
Spot 2 (45 seconds):“If you had some money to invest,
would you just hide it in your warehouse? Well, if you
buy construction equipment you don’t use very often,
that’s exactly what you’re doing. Machinery that sits
around is a waste of money—so rent equipment from
RSC Equipment Rental. We provide specialized
equipment for those occasional project needs. Call
your local RSC store, and use your money smarter.
RSC and taxes. At RSC Equipment Rental, we know
there’s a third one: Rent our equipment and raise
your profits. When you rent industrial equipment
from RSC, you avoid the costs and hassles of
purchasing equipment. So why buy? Just call your
local RSC store. RSC Equipment Rental. Rent our
equipment; raise your profits.”
You will sequence these spots together with adlib
from a host and shorted versions of music for this
simulation (i.e. to save some time on the finished
show)
1.
2.
Begin the show with Spot 1.
Transit into the provided jingle that can be
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3.
4.
5.
6.
7.
8.
9.
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Lab
Experiment
downloaded from the student resource
folder.
The host will adlib, give a brief introduction
of the show, thank the sponsors and
introduce the first music track.
Music plays
Host adlibs, introduces the next music track.
Tells the audience, but first another word
from our sponsor.
Insert Spot 2
Music plays
Host to conclude the show
Play the provided jingle.
5.
Fundamentals of Sound Acquisition: Recording
fundamentals and microphone techniques

Using an array of professional standard
microphones
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Understand important characteristics of sound
that contribute to the perception of timbre
(including the amplitude envelope, the spectrum
of the attack, decay, sustain and release of a
sound)
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Appreciation of signal and noise, and the concept
of signal-to-noise in audio recording
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Experience and explore how different types of
1
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Lab
Experiment
transducers respond to sound and how these
might affect the experience of hearing/listening.
Problem Trigger
“What constitutes a good recording?”
Using the equipment provided prove your team’s
position as you explore the theme of ‘horror’ through
the acquisition of not more than 10 different sounds.
Using the raw captures, provide a ‘horrific’ aural
journey.
6.
Fundamentals of Effects Processors: Delay,
Reverb, Flange, Phaser and Chorus

To gain an awareness of the historical
development and evolution of electronic sound
synthesis, its influence and impact on
experimental sonic art making
To be able to analyze, describe and discuss
commonly used sound effects as subscribed in
this problem.
To be able to apply critical listening when
synthesizing sound
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1
Problem Trigger
Having explored sound acquisition, you now turn your
eyes (and ears) to effects processing as additional
tools for sound shaping/manipulation.
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2
1
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Today, you will investigate five common kinds of
effects processing: reverb, delay, phasing, flanging
and chorus.
Prepare a short talk on the history and evolution of
effects processing, their features and role in sound
design and music production.
Your presentation should also include audio examples
demonstrating how these effects processors are able
to manipulate sound. Your audio examples should
cover a wide range of different sonic materials
including: spoken words, a musical phrase,
environmental sounds, etc.
Present your findings at third meeting together with
your audio demonstrations.
Note:
You are to head down to RPRC to book out an MBox
Micro. Make sure the installation CD is inside and all
the relevant installation information you need from
them to install the software successfully.
Alternatively if you have any problems you may also
use the Ableton Live Demo provided on the DVD with
the following contents:
1.
Ableton Live Demo installer (available online at
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and Team Work
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Lab
Experiment
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Lab
Experiment
Ableton.com)
2. 5 free plug-ins from Togo Audio Line (available
online at http://kunz.corrupt.ch/)
You should also sign out any additional resource you
might need from RPRC during first break-out.
7.
Creative Sound Sculpting through Recording and
Digital Signal Processing

Develop the ability to improvise recording
techniques to achieve realistic simulations of
sounds for special effects.
Develop field-recording instincts when
considering what students can do in post for
sound effects.
Develop problem-solving techniques in achieving
sound effects from mundane or constructed
materials.
Use digital signal processors where necessary to
manipulate sound sources to desired results.
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1
Problem Trigger
You are commissioned to record and/or simulate the
following sounds for a science fiction movie.
1. An explosion
2. Laser blaster
3. A light saber from the movie ‘Starwars’
4. Spaceship taking off from a hanger
5. Thunder
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Experiment
Present these 5 sounds digitally using the AIFF file
format with a minimum sampling frequency of 48kHz
and resolution of 24bits, but record your source files
at 96kHz/24bits. The Director is of course open to
suggestions for other sound effects that may be useful
for the film too.
8.
Sound Design: Creating Soundscapes in Physical
Space
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Author creative sonic art works to a context
Explore how composers think of sounds as
materials that can be manipulated to reach some
creative goals
Appreciate a range of creative objectives
(replicate known sounds, discover new sounds,
organize sounds unique ways) that may be
realized through experimenting with sampling
and synthesis techniques
Understand the difference between analog and
digital representations of sound
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1
Problem Trigger
This week, you will be collaborating with a
photographer on a gallery installation.
He has recently returned from a trip and would like to
feature some pictures he took. He wants to make the
exhibition more ‘immersive’ for the audience; he has
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Lab
Experiment
approached you to design an original soundscape to
complement his photographs.
You are free to select and sequence a minimum of 4
photographs for the installation.
Deliverables:
During second meeting, discuss the worksheet
questions with your facilitator before proceeding to
design your soundscape.
At third meeting, present your soundscape and
highlight your creative goals and ideas behind your
work.
9.
Routing Fundamentals in a DAW: Busses, Aux
Channels, Inputs and Outputs

Develop fundamental routing capabilities in a
digital environment.
Use routing effectively for inserts like VST, AU,
RTAS, TDM (depends of the lab) effects.
Understand the concept of routing inputs and
outputs in a DAW.
Perform a track-to-track bounce or a mix-down.
Practical application of EQ and compression.
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1
Problem Trigger
You have been given several tracks of recorded audio
clean/dry, without effects. You have been tasked to
add post-production effects to these tracks to make
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Lab
Experiment
them sound better in a mix. You are also required to
re-construct the audio tracks in Pro Tools and arrange
the audio regions anyway you want as long as it
makes sense to the listener when you are done.
The musicians have made the following requests: add
“reverb”, “distortion” and “compression” to the lead
guitar, and “compression” to the bass guitar.
“Compression” and “reverb” for the vocals, and
“compression” and “reverb” to the drums.
You have software from Digidesign called Pro Tools at
your disposal, and not much else. You may of course
use different applications and/or download software
solutions that can produce the same desirable results
but must explain how they were used in meeting
three.
10. Synchronizing both Primary and Secondary
Sound Sources to Moving Images Part 1
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1
Adapt sound elements to moving images.
Appreciate the process of sound design practices
for film.
Access both primary and secondary sources to
emphasize key storytelling messages.
Operate and apply synchronization tools within a
digital audio workstation.
Manage large quantities of audio media.
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1
2
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Resource Gathering
and Team Work
Formal
Lab
Experiment
Problem Trigger
Your and your partner will have to produce a
complete sound design for the attached video
currently being distributed by your facilitator. The
completed production will have to include the
following elements:
1. Sound effects synchronized to screen elements.
2. Dialogue if any, moaning, groaning, shrieking as
appropriate according to the video.
3. MIDI sequenced music. Use appropriate software
synthesizers and samplers. (next week)
These basic elements should work together well to
form a clear sound concept. The mix should maintain
a smooth sonic and contextual flow.
11. Synchronizing both Primary and Secondary
Sound Sources to Moving Images Part 2
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1
Adapt sound elements to moving images.
Appreciate the process of sound design practices
for film.
Access both primary and secondary sources to
emphasize key storytelling messages.
Operate and apply synchronization tools within a
digital audio workstation.
Manage large quantities of audio media.
Problem Trigger
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1
2
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Study Cluster
Allocated time per day
(One day-One problem PBL pedagogy)
Resource Gathering
and Team Work
Formal
Lab
Experiment
Your and your partner will have to produce a
complete sound design for the attached video
currently being distributed by your facilitator. The
completed production will have to include the
following elements:
1. Sound effects synchronized to screen elements.
2. Dialogue if any, moaning, groaning, shrieking as
appropriate according to the video.
3. MIDI sequenced music. Use appropriate
software synthesizers and samplers.
These basic elements should work together well to
form a clear sound concept. The mix should maintain
a smooth sonic and contextual flow.
12. Sound for Video Games Part I
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1
Provide an opportunity for students to explore
aspects of sound design for games.
Discover how a sound demo/prototype for video
games might be produced using digital audio
workstation tools.
Explore sound design conceptually for interactive
environments.
Explore how a creative team may develop
interactive projects with sound designers in the
production team.
Problem Trigger
Look at the prototype game application. It is a
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prototype for a real-time strategy game (RTS). There is
already an existing sound design for your reference
but the producers are not happy with the sound
concept and they think you can do better. They want
something a little darker but also retaining a level of
realism:
You are to capture the following sounds today:
1. Swords clashing with one another to initiate a battle
sequence. Short 5 to 10 second sound effect.
2. Orcs and trolls grunting
3. Dendroid Solider (when the Dendroid is selected)
4. Pikeman (when a Pikeman is selected)
5. Galloping horse (for when the hero moves around
the map)
You should propose at least five examples for the
producer to choose from during meeting three.
Present you sounds as a proposal.
Each student in each team should be primarily
responsible for at least 1 of the sounds produced.
Each of the final 5 sounds per team needs to be
uploaded into the work bin with the student name
and ID indicated in the file name.
You will need to follow the file naming convention
precisely in order for your sounds to replace those
directed from the programming code in the game. (*
You will not need to touch or change the code in
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Allocated time per day
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and Team Work
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Experiment
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anyway)
13. Sound for Video Games Part II
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
1
Provide an opportunity for students to explore
aspects of sound design for games.
Discover how a sound demo/prototype for video
games might be produced using digital audio
workstation tools.
Explore sound design conceptually for interactive
environments.
Explore how a creative team may develop
interactive projects with sound designers in the
production team.
Problem Trigger
Look at the prototype game application. It is a
prototype for a real-time strategy game (RTS). There is
already an existing sound design for your reference
but the producers are not happy with the sound
concept and they think you can do better. They want
something a little darker but also retaining a level of
realism:
You are to capture or design the following sounds
today:
1. The Unicorn Everglades (when the user selects the
Everglades to produce Unicorns)
2. When the Mages Guild is selected
3. Archery (when the user selects the archery
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barracks)
4. Blacksmith (when the user selects the blacksmith)
5. Tavern (when the tavern building is selected)
Each student in each team should be primarily
responsible for at least 1 of the sounds produced.
Each of the final 5 sounds per team needs to be
uploaded into the work bin with the student name
and ID indicated in the file name.
You will need to follow the file naming convention
precisely in order for your sounds to replace those
directed from the programming code in the game. (*
You will not need to touch or change the code in
anyway)
When you are done, review the sound effects for the
prototype.
14. Sound Identity and Song Tempo Part 1
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1
Provide an opportunity for students to explore
try and develop music with a strong identity to a
visual theme.
Provide students with an opportunity to use bars
and beats as a form of measurement on a DAW
timeline.
Draw a tempo map according to changes in the
pace of a game where necessary.
Use markers to identify different areas of the
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
timeline.
Use popular media through contextual research
to influence the melodies developed in today’s
problem. Examples will be given.
Problem Trigger
Look at the following video and import it into your
DAW. Identify parts in the timeline with scenes that
require a change in song tempo due to the intensity of
the visuals. As the character moves through different
areas of the game, you will need to produce music
that compliments what the user sees.
You will need to produce three different sound tracks
over the course of the following two weeks. You must
use a different song tempo for each piece of music
and produce the music using MIDI notes and software
instruments.
1. Exploring the main map (music)
2. Inventory in a castle/base of operations (music)
3. Battle sequence (music)
When you are done, export/bounce/mixdown the
music to distinct individual files using a proper file
naming convention. These distinct files should be
edited so they can be looped.
Replace the music in the prototype application
provided to you in week 12.
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15. Sound Identity and Song Tempo Part 2
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

1
Provide an opportunity for students to explore
try and develop music with a strong identity to a
visual theme.
Provide students with an opportunity to use bars
and beats as a form of measurement on a DAW
timeline.
Draw a tempo map according to changes in the
pace of a game where necessary.
Use markers to identify different areas of the
timeline.
Use popular media through contextual research
to influence the melodies developed in today’s
problem. Examples will be given.
Problem Trigger
Look at the following video and import it into your
DAW. Identify parts in the timeline with scenes that
require a change in song tempo due to the intensity of
the visuals. As the character moves through different
areas of the game, you will need to produce music
that compliments what the user sees.
You will need to produce three different sound tracks
over the course of the following two weeks. You must
use a different song tempo for each piece of music
and produce the music using MIDI notes and software
instruments.
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Formal
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1. Exploring the main map (music)
2. Inventory in a castle/base of operations (music)
3. Battle sequence (music)
When you are done, export/bounce/mixdown the
music to distinct individual files using a proper file
naming convention. These distinct files should be
edited so they can be looped.
Replace the music in the prototype application
provided to you in week 12.
Total = 15 Problems
= 60 hrs
15
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