Sound Design &

The Sound Designer

Computer Sound Production
COSC2190 | Computer Sound Production
Broadway, NYC, 1941 Citizen Kane released

A journalist asked:
Mister Welles, What do you prefer the
most, the radio or the cinema?

Orson Welles answered:
.. radio, the screen is wider!




COSC2190 | Computer Sound Production

sound influences how we react to a picture and/
or becomes image. cf. director, Michael Haneke

if you are watching a film or television with the
sound off and then with it on usually you will find
that more information comes from the sound
than the picture and that two different sound
tracks for the same picture will produce two
different meanings.

creating sound design is often tantamount to
defining the productions conceptual and
emotional intent
COSC2190 | Computer Sound Production
Sound Design is the process of creating the
overall sonic character of a production.

In terms of Film and Video, it is to
pr oduc i ng t he s oundt r ac k what
cinematography is to producing the
picture.
COSC2190 | Computer Sound Production
The term Sound Designer was first used as a professional
craft designation in theatrical film in 1979 when an
academy award for sound design was given to Walter
Murch for Apocalypse Now.

Over the years, the sound designer is the one person
responsible for creative control of the audio.
Like the cinematographer, who is responsible for the
overall look at the picture, it is the sound designers
function to put a coherent sonic stamp on the production
and the one member of the audio team who has the
directors ear.
COSC2190 | Computer Sound Production
COSC2190 | Computer Sound Production
Element of Sound Structure
& Their Effect On Perception
COSC2190 | Computer Sound Production
3 domains to work with in creating a sound
design:
Dialogue
Sound Effect
Music
some consider the following as a 4
th
category as well
silence
These aural agents are powerful in creating, supplementing and complementing cognitive & affective
information.
passive (ambience) active


on screen off-screen


diegetic non-diegetic (score, voice over)


on-track off-track
Chions classification of sound usage for film
COSC2190 | Computer Sound Production
sources of sound for your project
recordings
studio
field
production sound
processing (of existing sounds)
synthesis
sound libraries
COSC2190 | Computer Sound Production
All sound dialogue, sound effect & music
are made up of the same basic
elements:
pitch, loudness, timbre, tempo, rhythm, attack,
duration and decay.
COSC2190 | Computer Sound Production
Each element contains certain characteristics that affect
our response to sound, understanding those effects are
fundamental to sound design.


Perception effect ) ) )
COSC2190 | Computer Sound Production
Pitch : refers to the highness or lowness of a sound.
High-Pitched sound often suggest something delicate,
bright or elevated; low-pitched sound may indicate
something sinister, strong or peaceful.
Loudness : describes sound in terms of how loud or
soft it is. Loud sound can suggest closeness, strength
or importance; soft sound may convey distance,
weakness or tranquility.
COSC2190 | Computer Sound Production
Timbre : is the tonal quality of a sound. It not only
identifies a sound source, reedy, brassy, tympanic,
but also sonic qualities such as rich, thin, edgy or
metallic. Reedy tonal qualities produced by a clarinet
or oboe, can suggest something wistful, lonely or
sweet. A brassy sound can imply something cold,
harsh, fierce, bitter, forceful, martial or big. A tympanic
or percussive sound can convey drama, significance
or power.
Tempo : refers to the speed of a sound. Fast tempos
agitate, excite or accelerate; slow ones may suggest
monotony, dignity or control.
COSC2190 | Computer Sound Production
Rhythm : relates to a sonic time pattern. It may be
simple, constant, complex or changing. A simple
rhythm can convey deliberateness, regularity or lack
of complication. A constant rhythm can imply dullness,
depression or uniformity. Rhythmic complexity
suggests complication or elaborateness. Changing
rhythms can create a sense of uncertainty, vigor or
erratic.
Attack : the way a sound begins. It can be hard, soft,
crisp or gradual. Hard or crisp attacks can suggest
sharpness, excitement or danger. Soft or gradual
attacks can imply something gentle or muted.

COSC2190 | Computer Sound Production
Duration : refers to how long a sound lasts. Sound
short i n durati on can convey restl essness,
nervousness or excitation - more-sustained sounds
can create a sense of peace, persistence or
tiredness.
Decay : how fast a sound fades from a certain
loudness can create a sense of confinement,
closeness or definiteness or uncertainty.
COSC2190 | Computer Sound Production
Function of
Sound
COSC2190 | Computer Sound Production
Symbiotic Relationship
Sound places the images in an emotional &
physical context, helping us to decide how to take
the image & how it integrates itself into everything
else.

Dialogue
The interpretation is not the responsibility of the
sound designer.
It has basically 2 functions, Narration & Dialogue.


COSC2190 | Computer Sound Production
Narration is usually descriptive & voiced-over.
The narrator describes events from outside the
action, not as a participant but as an observer.

COSC2190 | Computer Sound Production
3 categories in NARRATION:

Direct Narration describes what is being seen or heard.
Indirect narration adds more information to the picture.
[For example the narrator tells that the person emerging from the car
and going into the building is an ambassador on an urgent mission and
is meeting with his counterparts from other countries in that building.]

Contrapuntal narration suggests counterpoints
narration & action to make a composite statement not
explicitly carried, suggested in either element.
[For example, the action may contain people happily but wastefully
consuming a more-than-ample meal while the narration comments on
the number of starving people in the world. The conflict between the 2
pieces of information makes a separate, third, comment.]
COSC2190 | Computer Sound Production
Dialogue a conversation between 2 or more
people. Obviously, the verbal content of the conversation is
essential to meaning but non-verbal sound in dialogue also
shapes meaning.

- accent,
- pace,
- patterns,
- emphasis,
- mood.
Sound Effects
can be classified as anything sonic that is not speech
or music. They are essential to storytelling, helping
amplify the reality created in a production.



Contextual Sound emanates from and duplicates a
sound source as it is.

Diegetic sound coming from within the story
space.
Non-Diegetic sound comes from outside the story
space like the music score.
In other words, contextual sound is like direct narration.

COSC2190 | Computer Sound Production
COSC2190 | Computer Sound Production

Narrative Sound adds more to a scene than what is
apparent and so performs informational function. Could be
descriptive or commentative.
Descriptive sound describes sonic aspect of the
scene.
A child leaves the house on the way to the school, and you hear descriptive
sound of the neighborhood: birds, one neighbor calling to another, a car
turning down the street and a grinding sound of the school bus growing louder.

Commentative sound also describes but it makes an
additional statement, usually has something to do with the
story line. For example, a longtime sportive man is released from the team. As he walk across
the playing filed for the last time, the wind comes up. Infused in the wind sound Is the faint sound
cheering, giving the scene a wistful quality.
COSC2190 | Computer Sound Production
Breaking the screen plane
The presence of sounds changes the audience relationship to what is
happening on-screen; it becomes part of the action, in a sense.
Therefore, it can also be said that sound effects add realism to the
picture.
Defining Space
It defines space by establishing distance, direction of movement,
position, openness and dimension.
Distancehow close to far a sound is, sound perspective.
By varying sound level, it is also possible to indicate direction of
movement. As a person leaves the room, sound will gradually change from loud to soft.
Frequency also helps establish distance & direction of movement. As a train, car
or siren approaches, its pitch gets higher, as it moves away or recedes, its pitch
gets lower. This phenomenon is know as the Doppler Effect.
(C.J. Doppler, early 19
th
Century Austrian Physicist)
Focusing Attention
Sound draws attention and provides the viewer with a focus. In a shot of
a large room filled with people, the eye takes it all in, but if a person
shouts or begins choking, the sound directs the eye to that event.
Establishing Locale
A cawing seagull places you at the ocean, car horns screeching brakes
place you in a city traffic, the machinery places you in the factory!
Creating Environment
A prison locale can be established in several ways but add the sound of
loudspeakers blaring orders, picks and shovels hacking and digging,
grunts of effort, dogs barking and you have created a brutal prison
environment.
Emphasizing Action
A car crash becomes a shattering collision by emphasizing the impact
and sonic aftermath, including silence.



COSC2190 | Computer Sound Production
Intensifying Action
Increases or heightens dramatic impact. Cartoons sound intensify the
extent of a characters running, falling, crashing, !
Depicting Identity
Sound can also give a character or object its own distinctive sound
signature. The rattle sound of a rattlesnake to identify a bad guy with
venomous intent for example.
Setting Pace
The controlled professionalism of two detectives discussing crucial
evidence becomes more vital if the activity around them includes such a
sonic elements as footsteps moving quickly, telephones ringing, papers
being shuffled, and a general hubbub of voices.
Providing Counterpoint
Sounds become counterpoint when they are different from what is
expected.



COSC2190 | Computer Sound Production
Creating Humor
Comic sounds are indispensable in cartoons but also in comedy movies.
Symbolizing Meaning
Sound can also give a character or object its own distinctive sound
signature. The rattle sound of a rattlesnake to identify a bad guy with
venomous intent for example.
Unifying Transition
Sounds provides transitions and continuity between scenes, linking them
by overlapping (when the sound used at the end of one scene continues
into the next without pause), lead-in (when the audio to the next scene is
heard before the scene actually begins) or lead-out.

COSC2190 | Computer Sound Production
- Music in a production can have 3 uses:
As production source, source and for underscoring.

- Production source music emanates from an
onscreen singer or ensemble and is produced live
during shooting or in post-production.
- Source Music is background music from stereo,
radio, jukebox and so on, added during post.
- Underscore Music is original or library music
added to enhance the informational or emotional
content of a scene.
COSC2190 | Computer Sound Production
- Function of Music
Music performs many of the same functions shown
in Dialogue and Sound Effect.
One essential difference between sound effect and
music in sound design is that sound effects are
generally associated with action & music with
reaction.




COSC2190 | Computer Sound Production
COSC2190 | Computer Sound Production
Establishing Locale
Many musical styles and themes are reflecting to particular regions.
Asia, Hawaii, Spain, American West, the sea, outer space and other
environments.
Emphasizing Action
By defining or underscoring an event. The crash of a chord defines the
impact of a fall or collision. A dramatic chord underscores shock or a
moment of decision. A romantic theme highlights the attraction between
lovers when their eyes first meet. Tempo increasing from slow to fast
emphasizes impending danger.
Intensifying Action
Usually by crescendo or repetition. The repetition of a short melody,
phrase or rhythm intensifies boredom, the threat of danger or an
imminent action.



COSC2190 | Computer Sound Production
Depicting Identity
Music can identify characters, events and programs. A dark, brooding
theme characterizes the bad guy. A particular theme played during
an event identifies the event each time it is heard.
Setting Pace
Mainly through tempo & rhythm. Slow tempo defines dignity, importance,
or dullness whereas fast tempo suggests gaiety, agility or triviality.
Changing tempo from slow to fast accelerates pace and escalates
action, changing from fast to slow decelerates pace and concludes
action. Regular rhythm suggests stability, monotony or simplicity,
whereas irregular rhythm suggests complexity, excitement or instability.
Providing Counterpoint
Adds an idea or feeling that would not otherwise be obvious. Football
players shown blocking, passing and running are counterpointed with a
ballet music to underscore their grace & coordination.



COSC2190 | Computer Sound Production
Creating Humor
A sliding trombone, clanking percussion can define a comic highlight or
underscore its humor. A fight is made silly, instead of violent by adding
the sounds of boings, bonk & splats.
Unifying Transition
Same relationship than sounds are used. (transitions by Overlapping,
Lead-in, Lead-out) A complete fade-in or fade-out makes a definite break
in continuity. The music used at the fade-in would be different from that
used at the fade-out.
Smoothing Action Scenes
In kinetic action scenes filled with quick cuts and rapid-fire sound effects,
music is often used to smooth the abruptness of the shots and sounds
and to create continuity.



COSC2190 | Computer Sound Production
Fixing Time
Among the many uses for musical style is fixing time. Depending on the
harmonic structure, the voicings in the playing ensemble, it is possible to
suggest the Roman Era, the Jazz Age, the Future, morning, noon, night
and so on.
Recalling or Foretelling Events
If music can be used to fix a period of time, it can also be used to recall a
past event or foretell a predict future event. A theme used to underscore
a tragic crash is repeated at dramatically appropriate times to recall the
incident. A character begins to tell or think about the first time she saw
her future husband at a party as the music that was playing during that
moment. A soldier kisses his girlfriend as he goes off to war, but the
background music indicates that he will not return.
Evoking Atmosphere, Feeling or Mood
Perhaps no other form of human communication is as effective as music
in providing atmosphere, feeling or mood.




COSC2190 | Computer Sound Production
Silence
Silence needs to be seen as the same level than audio form.
Silence can be extremely powerful. A little girl is walking along a
street wall, as she is progressing, silence heightens suspense to
an oppressive level as we anticipate a danger, or an apparition
working out. Silence is also effective sound. An explosion followed
by silence.

The Visual ear
Hearing a particular sound creates a distinct mental image.
The power of Sound to stimulate visual images is another
formidable consideration in sound design.




COSC2190 | Computer Sound Production
Music in Spot Announcements
Because of the effect on memory and emotion, it is a staple in
spot announcement.

-Music creates mood and feeling.
-The purpose of most spot is to have emotional appeal.
-Music is memorable. Music in spot should have a simple,
short, melodic line or lyric or both, something that sticks in
the mind and can be easily involuntarily, recalled.
-Music gets the audiences attention.
-Music can be directed to the taste of a specific audience.
- Music style can matched with the product.


COSC2190 | Computer Sound Production
Function of Sound
In Relation to Picture
COSC2190 | Computer Sound Production
Sound Parallels Picture
What you see is what you hear.
A character knock at the door and you hear it.

Sound defines Picture
Audio is not only dominant but it also determines the
point of view.
On the screen we can see a Police Squad is standing battle-ready
in the middle of the street. A sound track consisting of crashing,
breaking, yelling sounds suggests a citizens riot and cast the
Squad as the protector of the law of the order. If you add the song
Freedom, the music then casts the riot sympathetically and
then the Police as oppressors.




COSC2190 | Computer Sound Production
Picture Defines Sound
by calling attention to particular actions or images.
A person walks down a city street with traffic sounds in the background,
cutting to close-up of the traffic increases the impact of the sounds.

Sound and Picture Define Effect
The aural and visual elements are complementary.
A wave building and then breaking on a beach, accompanied by the
swelling and crashing sounds together create the overall impact of the
effect. Cumulative effect.
A man sitting on a bench in a park, watching a mother playing with her child,
lovers walking hand in hand and teenagers playing football, accompanied by a
music track that evokes a feeling first of pleasure, then loneliness and finally of
futility.




SPOTTING
Spotting is the action of deciding on the placement of sound effects and
music in a production on a spotting sheet.

Spotting takes place at different times in the production process,
because sound effects can be produced during and after shooting,
whereas music is usually spotted after the picture is edited.

It takes on consideration how the effects should be played, how
active and dense are they.

In a dinner scene, do the sounds of plates, glasses, fork, ! continue
through the scene and the various shot changes from long, to close-up?
Spotting Sound Effects
COSC2190 | Computer Sound Production
SPOTTING
Several questions to consider:

- How much music is there in the production?
- Where is it used? How is silence used?
- Where does the music enter?
- How does it enter, softly or loudly?
- How does it end?
- What kind of music to use?

Spotting Music
COSC2190 | Computer Sound Production
Exercise
Film or Movie example

Following the visual script, create a sound track.


FADE IN

INTERIOR. BEDROOM. MAN AND WOMAN IN THEIR MIDSIXTIES
ARE SLEEPING. A CLOCK WORK SHOWS 6:00. FAINT SUNLIGHT
IS COMING THROUGH AN OPEN WINDOW HUNG WITH LACE
CURTAINS FLUTTERING IN A BREEZE. THE CAMERA SLOWLY
ZOOMS IN.

FADE OUT
COSC2190 | Computer Sound Production
Cf. Stanley R. Alten Audio in Media
COSC2190 | Computer Sound Production