Audio and Sound Effects

Objectives

The aim of this subject is to give the student the necessary tools to be able to record, edit, manipulate, construct and experiment with sound, either to create a professional product from an aesthetic and technical point of view or to enhance the experimental sonoromusical creation.

Within the theoretical corpus it is essential that the student knows the fundamentals of sound as an integral part of audiovisual products and, especially, of digital audio focused on audiovisuals, video games, web and interactive multimedia resources, as well as knowing which formats are best suited for each distribution channel.

This subject offers an overview of the software and hardware that currently allow to generate sound and music and the elements that make up a semi-professional sound and music studio based on a medium computer system. At the same time, it is intended that the student achieves the ability to create a soundtrack for any type of audiovisual and/or digital production, properly combining environments, effects, music and voiceovers.

Learning outcomes

• Learn the basics of sound in general and digital audio in particular.
• Has the ability to produce coherent sound speech.
• He knows how to combine different elements to create a complete soundtrack for any type of audiovisual production, taking into account synchronization with other elements, mixing and mastering.
• Master the basic tools in the sound context.
• Know the appropriate file formats and types for each production.

Skills

General skills

• Desire to take part in lifelong learning, innovate, create value and acquire new knowledge.

Specific skills

• Generate and analyze expressive and narrative resources in audiovisual discourse, with special emphasis on multimedia and video games.
• Know about formats for capture, storage and management of digital audio, images and video for transmission of messages through appropriate audiovisual discourse and artistic criteria.

Basic skills

• Students can apply their knowledge to their work or vocation in a professional manner and have competencies typically demonstrated through drafting and defending arguments and solving problems in their field of study.

Core skills

• Display professional skills in complex multidisciplinary contexts, working in networked teams, whether face-to-face or online, through use of information and communication technology.

Content

1. the sound Introduction
• Fundamentals of sound. Digital audio
• The analog-digital world. Visualization of sound in the time domain. Ruler and units. Amplitude information dB, % and level meter. software
2. Digital signal processing
• The breadth Effects on frequency
• Dynamic range processing. Compressors, limiters, expanders...
• Effects based on delay. reverberation
• Effects based on time-varying delays
• Advanced processing techniques. Noise reduction
3. Digital audio formats
• format codec standard coding compression MPEG audio (MP3). High resolution formats
4. Sound and musical narrative
• Codes and genres. Music and sound as narrative elements. Useful music
• The soundtrack: dialogues, environments, music and sound effects. The Foley
• Sound design: theoretical and practical concepts
• Specificities of sound in video games
5. Audio in video games
• Audio Engine versus Middleware. Preparation and editing of files, formats and processes. iterations
• Considerations for multichannel sound and surround sound. 2D and 3D elements
• Integration with Unity. Sessions and projects in FMOD
6. Sound recording and synthesis
• Microphones, connections, recorders, mixing boards...
• Sound synthesis and sampling
• Live sound and recordings. reproduction listen
7. Post-production and mixing
• Multitrack software
• mix organization Usual processing. Criteria. production
• Audio-video synchronization, pre-edits and pre-mixes
• sound system Mastering Definitive formats

Evaluation

To pass, you must pass both the group and the individual part. It is only averaged if the project and certain exercises are approved. Active participation in class is evaluated in terms of the final grade.

Exercises and individual exams: 50%

• Editing, narrative and recording exercises: 35%
• Theory test control: 10%
• Active participation in class: 5%

Projects (2): 50%

• Project 1 (individual): 20%
  • Tutorials: 10%
  • Final delivery: 10%
• Project 2 (group): 30%
  • Report: 5%
  • Tutorials: 10%
  • Pitch : 5%
  • Final delivery: 10%

Some individual exercises and the final delivery of project 2 are recoverable (a total of 45%).

Methodology

Although this subject is eminently practical, there are some theoretical sessions. Classes alternate between practical and theoretical sessions. The course is structured in two blocks:

• Theoretical presentation of the basic concepts and individual practices in class, on set and outside.
• Elaboration of the final project in tutored sessions.

Bibliography

Key references

• Collins, M. (2004). Herramientas de audio y música digital: Crea y graba midi y audio con los mejores programas. Anaya Multimedia. Medios Digitales y Creatividad.
• Fries, B., Fries, M. (2005). Audio digital práctico: Claves fundamentales para el tratamiento integral del audio y la música digital. Anaya Multimedia. Medios Digitales y Creatividad.
• López Ibáñez, M. (2021). Producción musical y diseño de sonido para videojuegos. Editorial Síntesis, S.A.
• Robinson, C. (2019). Game Audio with FMOD and Unity. Routledge.
• Rumsey, F., McCormick, T. (2009). Sound and Recording: An Introduction. Retrieved from http://biblioremot.uvic.cat/login?url=https://www-sciencedirect-com.biblioremot.uvic.cat/science/book/9780240521633

Further reading

Teachers will provide complementary bibliography and compulsory reading throughout the course via the Virtual Campus.