Spatial Audio Design/Task 2/Exercise

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 22/9/2025-20/10/2025(Week1-Week4)

Cai Zihan / 0378043

Spatial Audio Design / Bachelor of Design in Creative Media / Taylor's University

TASK 2/Exercise

TABLE OF CONTENT
INSTRUCTIONS
LECTURES
TASK 2
FEEDBACK
REFLECTION

INSTRUCTIONS

<iframe src="https://drive.google.com/file/d/1WPHgYKTIP2EFPSKVNlEs_bYvcckEJvH_/preview" width="640" height="480" allow="autoplay"></iframe>



Week 5 Tutorial

Avoid sound distortion

No sound should clip (exceeding volume limits and causing distortion):

  • Check not only individual tracks but also the master mix (Master Level Meter).
  • Professional environments do not accept works with clipping.

Solution: Use a Limiter

  • Place it on the Master Mix Track to limit the overall volume. 
  • If clipping occurs during recording, re-record or use a Limiter to correct it.
  • Do not use the Limiter indiscriminately; only apply it when clipping occurs, because: Each effect processor consumes hardware resources; excessive processing may cause audio distortion during export.
  • Place the Limiter at the end of the effects chain (EQ and other effects should be placed before it).
  • Adjust the mix volume using the Limiter instead of directly adjusting the Mix fader.
  • Significant tonal modifications should be performed on their respective individual tracks.
Bus Track

  • Create a Stereo Bus Track

  • Before joining the bus, ensure the mix is well-balanced.

  • Multiple tracks can be redirected to a Bus Track for “grouped” processing:Modifying the Bus Track mix affects all grouped tracks simultaneously;This facilitates unified management and adjustments;However, if the original mix is poor, grouping will not improve the sound quality.

  • Automation can be edited on the Bus Track.

Save and Export Steps

Mixdown

Sample Rate: 48000 Hz

• Bit Depth: 16-bit

• File Format: .wav (uncompressed, same audio quality as Audition)

• Do not export as .mp3.


LECTURES

For this project, we must use audio to tell a story. All (or at least most) audio clips must be sourced online, and I must also spatialize the audio (surround sound).



Fig. 2.1. Written Story for Project 2 （week 7，5/7/2025）











In Week 7, the teacher asked us to send our completed Project 2 to her via WhatsApp. The teacher's suggestion for my Project 2 was that there was a very quiet section in the middle that needed more ambient sound, because even with the windows closed, there would still be some slight ambient noise. So I added ambient sound in the middle and turned the volume down.




Final






Reference：






Feedback

Experience
This assignment gave me a deeper understanding of sound design. Unlike previous projects, there were no visual references, so I had to shape the entire audio scene through my imagination. While it was challenging at first, it also gave me greater creative freedom—the world within the sound was entirely my own. At the same time, this was my first time creating surround sound tracks, requiring constant adjustments to channel positions and volume to achieve a three-dimensional spatial effect. The whole process was both challenging and enjoyable, and I thoroughly enjoyed the feeling of "telling stories with sound."

Observations
In practice, I found that adjusting panning and volume balance is very time-consuming. Especially when I need to move audio clips in post-production, it's best to determine the timing and structure of all sound effects before officially designing the spatial distribution.


Discoveries
 After completing the project, I realized that even with the windows closed, there are still ambient sounds; it's not completely silent.













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