Spatial Audio Design | Final Project
|| Tee Zi Tong, 0366165
|| Spatial Audio Design | Final Project
|| Week 9 - Week 15
For this final project, we were required to recreate the environmental sounds and sound effects for Level 1 of the 3D Game Kit in Unity. The game kit was downloaded from the Unity Asset Store, but all the audio used in the game had to be recorded and edited by us.
We were worked in pairs and will be share the recorded audio files. Before entering the recording studio, we explored the game level and listed the sounds needed for the environment, character movements, creatures, and interactive objects. We then gathered suitable props and planned how each sound could be recreated.
During the session, we experimented with different materials and recording methods. For the swamp sound, we stirred water mixed with coffee powder to create a wet and muddy texture. We also moved plastic bags and paper slowly to produce a soft wind sound. The plant sounds were recorded by rubbing leaves, newspaper, and artificial plants together.
Some recording methods required several attempts because the first recordings were either too fast, too soft, or did not match the action clearly. We experimented with different movement speeds, recording distances, and levels of force until we captured sounds that could be further developed in Adobe Audition.
After reviewing the recordings, I discovered that some sounds did not blend well with the others. Therefore, I re-recorded several sounds, including the slow wind, creature voice, hit effect, and character jumping and landing sounds. During the second recording attempt, I paid more attention to the microphone distance and the strength of each action. This gave me cleaner recordings that were easier to edit and match with the gameplay.
After importing the first recordings into Adobe Audition, I noticed that some of the sounds did not blend well with the other audio. A few recordings sounded unnatural, while others did not match the timing or intensity of the game actions.
Instead of relying entirely on effects to correct them, I decided to record several sounds again. During the second recording attempt, I paid more attention to the distance from the microphone, the strength of each movement, and the length of the recording. This helped me capture cleaner sounds that were easier to edit and integrate into the game.
re-recording process video
After completing the recording sessions, I imported the audio files into Adobe Audition. I renamed and organized the tracks according to their functions so that the multitrack session was easier to manage.
I adjusted each recording according to its own quality and purpose. Instead of applying the same effects to every sound, I listened to each clip and made individual adjustments based on what it needed.
The main editing process included trimming unnecessary sections, removing unwanted noise, adjusting the volume, changing the timing, and layering multiple recordings. I also experimented with different audio effects to make the sounds match the environment and actions in the game.
The background sounds included the slow wind, swamp creatures, and insects. These sounds were used to establish the atmosphere of the game environment and make the level feel more alive.
The slow wind was originally recorded by blowing gently with my mouth. Since the recording initially sounded too similar to human breathing, I edited it to create a softer and more natural wind texture. I removed unwanted sections, adjusted the volume, and softened the stronger frequencies.
I then created a smoother loop so the wind could play continuously without an obvious beginning or ending. The final volume was kept low because it was intended to support the environment without distracting the player.
The swamp creature sounds were created using voice-over. I recorded several low and unusual vocal expressions before selecting the most suitable takes.
The original recordings sounded recognizably human, so I experimented with audio effects and layered different voice recordings to create a more mysterious, creature-like quality. I also adjusted the timing and volume to prevent the creature sounds from becoming repetitive.
When placing the sound in Unity, I adjusted its roll-off distance so that it could only be heard when the player approached the swamp area.
The insect sounds were recorded separately to make the environment feel more active. Since the recording contained background noise, I cleaned the audio before adjusting its volume.
I arranged several short insect sounds at different positions on the timeline so that they would not play in a predictable pattern. This created a more natural result compared to using one continuously repeated audio clip. The insect sounds were kept subtle so they could blend with the slow wind and swamp creatures.
The midground sounds included the huge stone door, pressure pads, and breaking objects. Unlike the continuous background ambience, these sounds were triggered when the player interacted with objects in the game.
The huge stone door required a heavy and slow sound to match its size and movement. I combined different recordings to give the effect more weight and texture.
The clips were aligned according to the movement of the door. I adjusted the timing so that the friction sound continued throughout the opening process. The volume was also increased to make the door feel large and powerful.
The pressure-pad sound was created by layering several recordings with hard and heavy textures. I arranged the clips to match the moment when the character stepped on the pressure pad.
The beginning of the sound was kept short and clear to represent the initial pressure. This was followed by a heavier mechanical or stone movement to indicate that the pad had been activated. The timing was adjusted carefully so that the sound responded immediately to the character’s action.
For the breaking-object sound, I used recordings of materials being crushed and broken. A single recording did not sound powerful enough, so I layered multiple clips to create a more impactful result.
I combined sharp cracking sounds with heavier impact sounds to represent both the initial hit and the object falling apart. I then adjusted the volume of each layer so that the effect remained clear without becoming distorted.
CHARACTER SOUND
The character sounds included the character voice-over, hit effects, and footsteps. These sounds were important because they provided immediate audio feedback for the player’s movements and actions.
The character’s jumping and landing sounds were created using voice-over. I recorded several short vocal expressions with different levels of energy.
The clips were trimmed to remove unnecessary silence and arranged according to the character’s actions. The jumping sound was made shorter and lighter, while the landing sound was adjusted to feel stronger. I also controlled the volume so that the voice would not overpower the environmental sounds.
The hit sound was created by stretching and releasing the cable of an iron phone holder. The recording produced a short metallic and elastic texture that could be transformed into an action sound.
I selected the strongest part of the recording and adjusted its timing to match the character’s attack. I also combined it with other impact textures to make the action feel clearer and more powerful. The sound was tested repeatedly with the character animation because even a small timing difference could make the movement feel disconnected.
The footsteps were recorded by punching and pressing artificial grass. Different levels of force and speed were used to create variations for walking and running.
I separated the clearest sections into individual clips and adjusted their volume to keep them consistent. The walking footsteps were softer and more widely spaced, while the running footsteps were faster and stronger.
Because I only recorded footsteps for one type of surface, I used the same grass footstep recordings for the different ground textures in the level. However, I used several variations to reduce repetition during gameplay.
After completing the editing process, I exported the final audio files and imported them into Unity. The files were named according to their functions, such as footsteps, slow wind, creature, hit, jump, and landing. This made it easier to locate and assign the correct clips.
For environmental sounds, I created or selected the relevant GameObjects and added Audio Source components. I then adjusted settings such as volume, looping, spatial blend, and roll-off distance according to the location and purpose of each sound.
For character movement sounds, I located the relevant character objects and replaced the original audio clips with my own recordings. I then played through the game several times to check whether the footsteps, jumping, landing, and hit sounds matched the animations.
The sounds did not always behave the same way in Unity as they did in Adobe Audition. Some clips that sounded balanced in Audition became too soft after being imported, while others sounded too loud when combined with the ambience.
Because of this, I repeatedly tested the level and adjusted the audio. Some files were returned to Adobe Audition for further editing and re-exporting. I also refined the Audio Source settings in Unity to make sure environmental sounds could only be heard within suitable areas.
This stage was important because game audio needs to respond to the player’s position and actions. Listening to an audio file by itself is different from experiencing it while playing the game.
After completing the adjustments, I conducted a final playthrough to ensure that the ambience, creature sounds, footsteps, character sounds, and impact effects worked together.
This project gave me practical experience in recording, editing, and implementing audio for a 3D game environment. The most enjoyable part was recording sounds in the broadcasting studio. It was interesting to experiment with simple materials and then transform the recordings step by step into sound effects that could be used in the game.
I especially enjoyed seeing how an ordinary sound, such as punching fake grass or stretching a cable, could become part of the game after editing. This made the sound-design process feel creative and experimental.
During the project, I observed that the quality of the original recording strongly affected the final result. While editing, I discovered that some of the sounds did not coordinate well with the other tracks. They either sounded unnatural or did not match the game actions. Therefore, I re-recorded several sounds instead of continuing to edit unsuitable recordings.
I also noticed that audio could sound different after being imported into Unity. A sound that seemed loud enough in Adobe Audition could become too soft during gameplay. This meant that I had to test the game repeatedly and make adjustments in both Adobe Audition and Unity.
Through this project, I learned that game audio is not only about recording individual sounds. The sounds must work together and respond correctly to the player’s movement and location.
I improved my skills in recording, organizing audio files, layering sounds, applying suitable effects, and integrating audio into Unity. I also learned how spatial settings, volume, timing, and roll-off distance can influence the player’s experience.
Overall, this project taught me the importance of experimentation and continuous refinement. Although some sounds needed to be recorded and edited several times, the process helped me understand how ordinary recordings can gradually be transformed into immersive game audio.
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