Sonic Design/Project 3: Audio Storytelling

-SPETEMBER 26, 2024

09/11/2024 - 30/11/2024 (Week 08 – Week 10)

Wang Yifan / 0368363

Sonic Design / Bachelor of Design (Honours) in Creative Media / Taylors University

Project 3: Audio Storytelling

INTRODUCTION

LECTURES

Week 9

This week, we delved into microphones as we began our second project. Each microphone is characterized by a specific polar pattern.

Microphone Types:

Dynamic Microphone
Condenser Microphone
Shotgun Microphone

Polar Patterns:

Omnidirectional
Cardioid
Hypercardioid
Figure-8

Fig1.1 Patterns of Microphone

Proximity Effect:

When the sound source moves closer to a directional microphone, the response to low frequencies increases significantly.

Example:

The closer you get, the more you feel the deep charm of Barry White's voice.

Room and White Noise:

Smaller spaces tend to have less white noise.
Tip: Record 2-3 seconds of white noise before starting the actual recording.

Noise Reduction Process:

The goal is to reduce noise without altering the quality of the primary audio.

Steps:

Minimize ambient noise as much as possible.
Select a stable section of noise from the audio track.
Go to: Select section > Effect > Noise Reduction > Capture Noise Profile.
Select the entire track and apply: Effect > Noise Reduction (process).
Adjust dB levels as needed to achieve the desired noise reduction.

Dynamic Processing:

Effect Rack - Noise Gate

Skip the noise gate if background noise is already minimal.
Suggested threshold: -30dB, blocking sounds below this level.

Compressor

Balances dynamic range, but avoid over-compressing the sound.
- Threshold: -18dB
- Ratio: 3.2
- Gain compensation: 6dB

Effect Rack - DeEsser

Use to reduce sibilance; adjust the threshold (e.g., -40dB) while monitoring the entire track.

Frequency Analysis and Final Adjustments:

Use a frequency analyzer to check for excessive low frequencies and fine-tune with an equalizer.

Post-Production Workflow:

Sync the video track with the processed audio.
Export the multitrack mix.
Import the final mix into Adobe Premiere Pro and export the video.

Project 3: Audio Storytelling

For our second project, we will select a well-known fairy tale and transform it into an engaging audiobook. This involves crafting an appropriate soundscape, recording voiceovers with expressive voice acting, and integrating sound effects and background music. The goal is to enhance the narrative and create an immersive storytelling experience.

Visuals & Script

I chose Pinocchio for this project because it is a classic fairy tale with profound meaning and rich imagination, making it ideal for audio storytelling. Pinocchio's dramatic journey from a wooden puppet to a real boy is filled with opportunities to showcase diverse audio effects and emotional expression.

Using the Pinocchio storybook, I found a complete script, including narration and dialogue. This provides clear guidance for recording, sound design, and background music. For instance, the sound effect of Pinocchio's nose growing when he lies, the suspenseful music during his struggle with the giant fish in the ocean, and the magical atmosphere when the puppet comes to life can all be vividly portrayed through sound.

Fig2.1 Visuals

Sound effects

After that, I made a list of the sound effects I needed for the story. Then I found suitable sound effects and downloaded them.

Fig2.2 Sound effect search and download

Record sound

I used my phone to record the narration following the script. To ensure quality, I turned off the air conditioner and fan to create a quiet environment and read through the script beforehand to adjust timing and pronunciation. I also recorded 5 seconds of white noise before each session. Initially, I recorded in sections, redoing each part multiple times until I was satisfied. However, during playback, I noticed inconsistencies in tone, so I re-recorded the entire story to ensure smoothness and the best overall result.

Audio editing

After finishing on the recording, I imported the files to Adobe Audition.

I started by applying the Dynamics effect to ensure consistent audio levels. The Noise Gate was set to eliminate low-level background noise, while the Compressor balanced the dynamics, making quiet parts clear and controlling loud sections. This created a smooth foundation for further editing。

Noise Gate Threshold: -23.1 dB
Compressor Threshold: -20 dB, Ratio: 1:1
Expander to smooth transitions.

Fig2.3 Dynamics and Noise Control

To enhance the storytelling atmosphere, I added reverb to the narration. This was crucial for scenes like the fairy bringing Pinocchio to life, adding depth and a dreamy quality.

Decay Time: 700 ms
Pre-Delay: 10 ms
Wet/Dry Mix: 35% wet, Output Level: 152%.

Fig2.4 Adding Reverb for Depth

I organized my project in multi-track view, assigning different tracks to various elements:

Track 1: Narration
Track 2: Sound effects (e.g., wooden footsteps, nose growing)
Track 3: Background music
Track 4: Ambient sounds (e.g., ocean waves for the whale scene).

Fig2.5 Multi-Track Editing

To make the narration stand out, I applied EQ. Boosting frequencies around 2-4 kHz enhanced vocal clarity, while cutting below 100 Hz removed low-frequency rumble.

Fig2.6 Equalization for Clarity

Video editing

Draft 1：

During the consultation, Mr. Razif suggested that my voice needed improvement and some variation could be added to the distinction of the characters.

Modification process

I used the Noise Reduction effect to clean the narration track. Capturing a noise profile and applying it eliminated hums and white noise, ensuring a clean audio base.

Threshold: 30 dB
Complexity: 16.

Fig2.7 Noise Reduction

For character differentiation, I used the Stretch and Pitch effect. Pinocchio’s voice was pitched higher (+3 semitones) to reflect his youthful, wooden nature, while Geppetto’s voice was lowered (-2 semitones) for warmth and depth.

Fig2.8 Character Voice Adjustments

Once all elements were balanced, I reviewed transitions to ensure smoothness. The final audio was exported as a high-quality WAV file, ready for the storytelling presentation.

Fig2.9 Mixing and Exporting

Final Submission

Youtube Link:

https://youtube.com/shorts/okh1iu9DSyc?feature=share

Google Drive Link:

https://drive.google.com/drive/folders/1ytEcFg98oA_oqU500gB5k-pv_1JxEGL5?usp=drive_link

FEEDBACK

Week 11 : Mr. Razif emphasized that I needed to improve the overall voice acting to make it more engaging and dynamic. Additionally, he suggested that I add variation in tone, pitch, and intonation to better differentiate the characters and ensure that each character had a unique and identifiable voice. Reduce the noise as much as possible on the original sound to make the sound better.

REFLECTION

Experiences

Creating the audio storytelling piece based on Pinocchio was both challenging and rewarding. It required me to understand sound design nuances, combining technical editing with creative storytelling. Working on this project helped me establish a structured workflow, from planning to final mixing.

Observations

Reverb added depth and emotion, especially for the fairy’s scene. Pitch changes made characters distinct and engaging, enhancing storytelling. Sound effects like wooden footsteps and ocean waves enriched immersion, while noise reduction improved narration clarity by eliminating background noise.

Findings

Effective planning with a clear storyboard and organized tracks streamlined editing. Thoughtful application of tools like EQ and reverb balanced creativity and technique. Iterative refinements improved transitions and balance, showcasing audio’s ability to evoke vivid imagery and emotion.

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Wang Yifan (0368363)