Bart Bridger Woodstrup

Course Title: Sound Design
Instructor: Woodstrup
Course Number: DMP 325
Quarter: Spring 2005
Course Prerequisites: VP 102 IMD 320

Course Description:
This course addresses the interactivity of sound and audio pieces in a digital media production. Students learn how to design appropriate sound tracks for a specific production as it relates to final product and its relationship with the delivery systems and distribution methods.

Course Competencies:

Upon completion of this course, students should be able to:

Demonstrate the ability to employ digital sound composition techniques
Utilize a software application to do multi-tracking
Mix sound sources for final output
Apply sound sampling techniques
Manipulate sound through signal processing equipment to effect mood, tone, and atmosphere
Layer sound for intended effects
Incorporate audio mixing and sound design techniques
Establish proper setup of audio levels within various media systems
Monitor audio quality and equalization throughout production process
Arrange layers of audio and edit individual audio tracks
Utilize basic editing techniques to enhance the soundtrack
Combine various sound elements to enhance storytelling

Student Evaluation / Grading policy:

Sound Journal Week 3 10 points
Sound Journal Week 5 10 points
Sound Journal Week 7 10 points
Sound Journal Week 9 10 points
Music Composition 10 points
Interview 20 points
Post Production Sound 20 points
Quizzes and Participation 10 points

Recommended Textbooks:

Audio in Media, Stanley R. Alten (recommended)
Sound On Film: Interviews with Creators of Film Sound, Vincent Lo Brutto (recommended)
Pro Tools 6 Visual Quickstart Guide (recommended)

Required Supplies:

Professional Headphones
CD-R, DVD-R
MiniDV tape
DAT tape
CompactFlash media card (256 Mb min.)
8 “AA” batteries

Assignment 1 - Sound Journal

Objective:
Experience is the key to reinforcing the knowledge gained in the classroom. You are expected to continually experiment with sound throughout the length of this course. This can involve sound synthesis, field recording, music composition, studio recordings, etc.

Competencies:
Apply sound sampling techniques.
Manipulate sound through signal processing equipment to effect mood, tone, and atmosphere.
Layer sound for intended effects.
Incorporate audio mixing and sound design techniques.
Establish proper setup of audio levels within various media systems.

Assignment:
The very best of your ongoing sound experiments should be recorded and saved as 44,100 Hz, 16bit, Stereo, .wav or .aif files. The files can be any duration as long as each are at least 10 seconds. These files can be created by a variety of means (sampling, synthesis, recordings, mix projects, etc), however, the greatest knowledge will be gained through exploring a variety of diverse techniques. The project will be handed in on CDROM every two weeks as specified in your syllabus.

Documentation:
The process used to create each sound must be documented in detail. Keeping a log while working is recommended. This documentation is required when handing the assignment in. It should be in sentence form, using terminology explained during lectures.

Assignment 2 - Music Composition

Objective:
Through learning the basics of music theory, listening to various compositions, and discussing compositional strategies, you will create a music composition. This composition will have a central theme, yet incorporate various emotions, rhythms, and sonic textures.

Competencies:
Demonstrate the ability to employ digital sound composition techniques
Utilize a software application to do multi-tracking
Mix sound sources for final output
Apply sound sampling techniques
Manipulate sound through signal processing equipment to effect mood, tone, and atmosphere
Layer sound for intended effects
Incorporate audio mixing and sound design techniques
Arrange layers of audio and edit individual audio tracks
Utilize basic editing techniques to enhance the soundtrack

Assignment:

1. After a brief lecture on music theory and after several listening exercises you should develop a central theme or concept for your piece. This not only includes a conceptual idea, but also a musical melody, field recordings, and synthesis experiments.

2. Using the variety of sound tools available (keyboards, soft-synths, etc.) collect sounds and musical phrases that support your concept. Working with a wide variety of software is recommended.

3. Create a timeline for the piece that will be the framework for editing/multi-tracking – this should be included in the documentation of your work.

4. The final composition should have multiple movements (at least three) or variations of theme and emotion. You are required to include at least one instance of each of these elements: rhythm, consonance, dissonance, theme (melody), organic sound (noise or sound texture), and ambience. It should be between 5 and 10 minutes in length. The file should be a 44.1kHz, 16 bit, stereo, wav or aiff file.

Documentation:
Document the intentions of each movement of your piece. What key was your theme in? Where are elements of consonance and dissonance in your piece? What function did your rhythm track serve? What tools did you use to complete your piece (mics, synths, etc.). In what type of setting would your music be most appropriate? Also, document your intention (to persuade, inform, entertain, etc.), your specific audience, and your process for this project.

Assignment 3 - Interview

Objective:
Make a clear, decipherable recording of the human voice in a “field” location. Establish a believable setting and emotion. Information should be conveyed effectively and persuasively depending upon the nature of the work.

Competencies:
Utilize a software application to do multitracking.
Mix sound sources for final output
Manipulate sound through signal processing equipment to effect mood, tone, and atmosphere.
Layer sound for intended effects.
Incorporate audio mixing and sound design techniques.
Monitor audio quality and equalization throughout production process.
Arrange layers of audio and edit individual audio tracks.
Utilize basic editing techniques to enhance the soundtrack
Combine various sound elements to enhance storytelling.

Assignment:

1. Using a MiniDV camera as the sound capture device, record a full interview with a subject about any subject which you find interesting, informative, or entertaining. NOTE: this should be a professional subject matter suitable for your portfolio.

2. Use a combination of microphones for your recording. A lapel mic should be used on your interviewee and a combination of condensor mics and a shotgun should be used to record the environment and the sound effects in the evironment.

3. Record more that you need, realize that you should edit the story down to its essential elements. In most situations you will not get a second chance to make your interview – ask all pertinent questions at the time of the recording. You may even want to ask some questions twice. Make separate recordings of the environment and any SFX that may have been addressed during the interview.

4. Capture your sound and edit in a sound editing program. Include (if applicable) the sound environment in which the recording was made. Also, (if applicable) include the sound effects or music that will support the informative or entertaining aspects of the narrative. All SFX and music MUST be your original creation – no copyrighted material will be allowed.

5. Although there is not a specific time length required, it is assumed that this project will generally be between 5 – 10 minutes in length.

Documentation:
You must document which microphones where used in each specific situation. Detail which microphones worked best and why. Also, document your intention (to persuade, inform, entertain, etc.), your specific audience, and your process for this project.

Assignment 4 - Post Production Sound – DVD Surround

Objective:
Sound design is most often a necessity during the post production stage of a media project. It is not uncommon for a sound designer to be used to fix or invent sound as the media project enters its final edit stage. A skilled sound designer will be able to use Foley techniques, digital sound synthesis, ADR, and music composition to create a professional sounding mix. This mix should fit seamlessly and believably with its visual component.

Competencies:
Demonstrate the ability to employ digital sound composition techniques.
Utilize a software application to do multitracking.
Mix sound sources for final output
Manipulate sound through signal processing equipment to effect mood, tone, and atmosphere.
Layer sound for intended effects.
Incorporate audio mixing and sound design techniques.
Monitor audio quality and equalization throughout production process.
Arrange layers of audio and edit individual audio tracks.
Utilize basic editing techniques to enhance the soundtrack

Assignment:

1. Either you instructor will provide you with a short commercial (or scene from a movie) or you will choose one of your own works (must have authorization of your instructor). The minimum length is 30 seconds.

2. You will first create a log for all sound edits that need to be made. You should plan to acquire more sound than you will actually use. Using a sound library, a Foley stage, or a portable recorder, you will then find the sounds needed for the video.

3. Using an Automated Dialogue Replacement (ADR) technique you will “replace” the field recorded dialogue of the video with a cleaner, in-studio recording of dialogue – you will need to find talent for the voices.

4. You will need to generate original music for sound beds and ambience.

5. Using the Surround Sound capabilities of the studio, mix your audio to picture and export 6 (5.1) tracks (must be 48 kHz 16 bit). Using A.pack and DVD Studio Pro you will create a DVD to turn in to your instructor.