Sound Design at Edinburgh Napier University

  • Andrew Spitz: Crafting Soundscapes, Interactivity, and Innovations

    In the evolving world of design and technology, Andrew Spitz’s career serves as an inspiring example of how creativity and experimentation can lead to unique and impactful innovations. From sound design to interactive media and the art of prototyping, Andrew’s journey offers insights into building meaningful user experiences through multidisciplinary approaches. Andrew Spitz shared his experiences and knowledge during an online guest lecture, offering a glimpse into his journey and expertise.

    Andrew Spitz, Frolic Studio

    The Journey: From Linear Sound Design to Interactive Media

    Andrew Spitz started his career in the world of sound design, where his primary focus was creating immersive audio experiences for films. This phase of his work was marked by linear storytelling—designing soundscapes that enhanced the narrative of visual media. For example, Andrew recorded the sounds of African wildlife to bring animated characters to life, showcasing the meticulous effort involved in capturing authentic audio.

    However, this linear approach left him yearning for more dynamic ways to engage audiences. His desire to explore interactivity led him to Edinburgh, where he delved into interactive sound design during his Master’s programme. Here, tools like Max/MSP opened new doors, allowing Andrew to experiment with dynamic soundscapes that responded to user interactions.

    This transition marked a pivotal shift in his career—from designing sounds that followed a fixed storyline to creating experiences where users could shape the narrative. It was a move from being a storyteller to an enabler, allowing audiences to co-create their journey.

    Interactive Media: Bridging Empathy and Technology

    One of Andrew’s key insights into interactive media is the importance of empathy. As an interaction designer, he emphasises the ability to step into the user’s shoes. Whether it’s designing physical installations or digital interfaces, understanding the emotional and functional needs of users drives successful designs.

    In his work with prototypes and concepts, Andrew explores how technology can evoke emotions and foster connections. For instance, a project for BMW involved recreating the exhilarating experience of walking into a packed rugby stadium, complete with crowd noise and synchronised visuals. This installation not only showcased technological prowess but also highlighted how sensory design can forge powerful emotional connections.

    Andrew also stresses that great interaction design isn’t just about logic and utility; it’s about creating delight and emotional resonance. Products that succeed are those that strike a chord with users, making them feel connected and understood.

    The Art and Impact of Prototyping

    Andrew believes that “doing is the new thinking.” Prototyping is at the heart of his creative process, enabling him to turn abstract ideas into tangible experiences. He advocates for quick, iterative prototyping as a means to test concepts, gather feedback, and refine designs efficiently.

    One of his standout projects, Paper Note, involved turning sound into physical sculptures. What began as playful experimentation with materials like cornstarch and sand evolved into a compelling visualisation of sound frequencies. This process underscores how unstructured exploration can lead to innovative applications.

    Andrew also highlights the importance of embracing imperfection during prototyping. By failing fast and cheap, designers can refine their intuition and adapt to users’ real needs. Whether building a functional prototype like *Ice Cube*, a tangible music player, or creating tools for interactive sound, the goal remains to make ideas accessible, testable, and impactful.

    Lessons from Andrew Spitz’s Journey

    Andrew Spitz’s work offers several takeaways for anyone interested in sound design, interaction design, or creative innovation:

    1. Experiment Freely: Many of Andrew’s breakthroughs came from playful experimentation with new tools and ideas. Don’t be afraid to explore without a clear goal.
    2. Embrace Empathy: Understanding the user’s perspective is key to designing experiences that resonate emotionally and functionally.
    3. Prototype Iteratively: Start small, test often, and refine based on feedback. Prototyping is as much about learning as it is about building.
    4. Merge Creativity and Technology: Use technology as a tool to tell stories, evoke emotions, and create connections, rather than as an end in itself.

    Andrew Spitz’s career illustrates the power of curiosity and creativity in pushing the boundaries of what’s possible in design and technology. His work continues to inspire by showing how sound, interaction, and prototyping can come together to craft experiences that truly engage and delight.

     

     

  • Behind the Scenes of Game Audio Testing with Rob Pearsall

    Audio in video games isn’t just about what you hear—it’s about how you feel. Rob Pearsall, an experienced sound designer and audio tester, provided a fascinating deep dive into the intricacies of audio testing for games. Drawing from his work on iconic franchises like Halo, he shared valuable lessons on what makes game audio tick and how to test it effectively.

    Rob Pearsall Game Audio Specialist.

    What Makes Game Audio Unique?

    Unlike films, where soundtracks sync directly with linear visuals, game audio is dynamic and interactive. It adapts to player actions and constantly shifts depending on the game environment. Rob emphasised this distinction, explaining how sound systems in games are programmed to respond to varying in-game conditions, creating a fully immersive auditory experience.

    For example:

    • Interactive Music: Games often use “stems” (individual tracks for different instruments) to allow for endless variations of a song. This ensures players rarely hear the same combination twice.
    • 3D Soundscapes: Audio in games must convey spatial awareness. A helicopter passing overhead or a distant explosion must sound authentic, adjusting in volume, pitch, and filtering based on the player’s position.

    Essential Skills for Audio Testing

    Testing audio in games requires more than just a good ear. Rob highlighted two key areas of expertise:

    1. Testing Proficiency: The fundamentals of identifying, documenting, and tracking issues are crucial.
    2. Audio Knowledge: A professional understanding of sound design is indispensable. From mastering tools like Wwise and FMOD to comprehending audio behaviours like occlusion and attenuation, testers must be equipped to evaluate the nuances of game audio.

    Challenges in Audio Testing

    Rob shared several challenges he encountered while working on Halo:

    • Volume and Memory Balancing: Managing the memory footprint of audio is critical. Overloading the system with sounds can lead to important effects—like gunfire—being cut off during gameplay.
    • Consistency Across Game Modes: Audio transitions and behaviours can differ between campaign and multiplayer modes, requiring thorough testing in all scenarios.
    • Environmental Sound Design: Ambient sounds and reverb must seamlessly match the environment. For instance, moving from a cave to an open field should feel natural to the player.

    One particularly intriguing example involved reverb mismatches on vehicles. In one scenario, players riding in a Halo Warthog experienced reversed indoor and outdoor reverb effects depending on their position in the vehicle—a fascinating bug that required careful debugging to resolve.

    Lessons from the Field

    Rob’s anecdotes revealed just how intricate audio testing can be:

    • Dynamic Sound Systems: Testing dialogue systems, which must adapt to various player interactions, requires a keen ear to ensure appropriate responses are triggered in the right contexts.
    • Material Systems: Every surface in a game world—be it grass, metal, or water—affects the sounds of footsteps, gunfire, and interactions. Testing involves ensuring these sounds match their environments accurately.
    • Loop Points: Ambient audio loops must blend seamlessly. A poorly looped sound can disrupt the immersion, drawing players out of the experience.

    Tips for Aspiring Audio Testers

    1. Build Relationships: Collaboration with designers and developers is crucial. Gaining their trust can improve feedback and streamline the debugging process.
    2. Leverage Tools: Use profiling tools in middleware systems like Wwise or FMOD to isolate and test specific sounds or scenarios.
    3. Study the Game: Understanding the lore and design principles of a game ensures consistency across sequels and expansions.

    Final Thoughts

    Rob concluded with a message of optimism: as game audio continues to evolve, so too will the tools and techniques used to create and test it. By fostering a partnership between creativity and technology, developers can craft unforgettable soundscapes that immerse players like never before.

    For Rob, the ultimate goal is simple: make games fun and immersive. And with experts like him pushing the boundaries of audio, the future of gaming sounds brighter than ever.

    Game Credits

    Rob Pearsall has an extensive portfolio in game audio, contributing to over 50 titles including The Lamplighters League, Falcon Age, Necropolis, Destiny: The Taken King, Destiny, Halo 4, Halo: Combat Evolved Anniversary, and The Lord of the Rings. His company, Rip Street Audio, has played a significant role in delivering audio direction, music, and sound design for these projects.

     

  • Mastering the Art of Game Audio Direction: Insights from the late Saki Kaskamanidis

    In the world of video games, audio still is often an unsung hero, subtly enriching our gaming experiences. Yet, it is a complex and intricate field that demands expertise, creativity, and innovation. Saki Kaskamanidis, the late Audio Director at United Front Games, provided compelling insights into the art of audio direction for interactive entertainment, drawing from his experience on the critically acclaimed game Sleeping Dogs.

    Saki Kaskamanidis (1971 - 2016)

    The Evolution of a Career in Game Audio

    Saki’s journey into game audio was as inspiring as it was unique. Starting as a composer for Electronic Arts’ Need for Speed series, his lack of technical knowledge didn’t hinder him—musical skills opened the door. Over 18 years, he grew to master sound design, implementation, post-production, dialogue direction, and even scriptwriting. This diverse background laid the foundation for his role as Audio Director at United Front Games.

    The Birth of Sleeping Dogs

    Originally codenamed Blue Lotus, Sleeping Dogs was a bold attempt to challenge the dominance of open-world giants like Grand Theft Auto. Set in contemporary Hong Kong, the game’s narrative focused on an undercover cop, delivering a darker, more serious tone compared to its competitors. Despite setbacks, including being dropped by its original publisher, Activision, the project found a second life under Square Enix and became a critical success.

    Audio: The Heartbeat of Interactive Storytelling

    Saki emphasised that sound was an integral part of storytelling. “Sound and story are one,” he explained, underscoring the importance of integrating audio into every phase of production. Unlike film, video game audio had to adapt dynamically to player interactions, making it a unique challenge.

    The Three Pillars of Game Audio

    Saki categorised game audio into three pillars: sound design, music, and dialogue. Each played a crucial role in crafting immersive experiences:

    1. Sound Design: From the visceral crunch of hand-to-hand combat to the roar of vehicle engines, sound design in Sleeping Dogs was meticulously planned. For instance, vehicle engine sounds were created using recordings of real cars, classified into 15 categories to streamline production.
    2. Music: The score for Sleeping Dogs blended traditional Chinese instruments with Western elements, reflecting the game’s cultural setting. The dynamic score adapted to gameplay scenarios, while diegetic music added realism, playing from radios, boomboxes, and more.
    3. Dialogue: Dialogue brought authenticity to Sleeping Dogs. Over 75,000 lines were recorded, with 45,000 making the final cut. To ensure cultural accuracy, ambient Cantonese dialogue was recorded on-site in Hong Kong, capturing the city’s vibrant soundscape.

    Innovative Tools and Techniques

    A key aspect of game audio was the use of middleware tools like Wwise and FMOD, which enabled dynamic soundscapes. For instance, the same explosion sound could vary in intensity and distance based on the player’s position. Such tools empowered designers to create immersive, context-sensitive audio experiences.

    Challenges and Triumphs

    Saki shared the challenges of creating convincing audio for vehicles, fighting, and gunplay. Early attempts at realistic fight sounds fell flat, leading to the creation of “hyped-up reality” effects inspired by films like The Bourne Ultimatum. Gun sounds required layered effects and innovative use of sound libraries to replicate the visceral punch of firearms.

    The Future of Game Audio

    Saki envisioned advancements in 3D audio, sound reflections, and occlusion. Technologies like binaural sound and improved computational power promised to elevate audio realism, enhancing player immersion. He believed these developments would bring unparalleled depth to gaming experiences, making them more lifelike than ever before.

    Conclusion

    Saki Kaskamanidis’ lecture illuminated the artistry and technical mastery behind game audio. From crafting dynamic soundscapes to recording authentic dialogue, his work on Sleeping Dogs exemplified how audio elevated storytelling and gameplay. For aspiring audio professionals, his journey was a testament to the power of passion, adaptability, and continuous learning.

     

     

  • The Abridged Evolution of Audiobook Production: Dr David Darlington

    In the ever-evolving world of audio production, audiobooks have carved out a unique niche, combining storytelling with technical precision to create immersive listening experiences. Dr David Darlington, a seasoned audio producer, shares his journey and expertise in the field, shedding light on the nuanced art of audiobook production.

    Dr David Darlington Audio Book Producer

    From Graphic Design to Audio Mastery

    Dr Darlington’s path to becoming a full-time audio producer was anything but linear. Initially pursuing graphic design, physics, and electrical engineering, he discovered his passion for digital signal processing, eventually earning a Ph.D. in the field. His academic background enriched his understanding of sound, allowing him to transition seamlessly into audio production. After stints in academia, Dr Darlington found his calling in audio drama, editing, and mastering, collaborating with renowned companies like Big Finish Productions and the BBC.

    Understanding Audiobooks vs. Audio Drama

    One of the key distinctions Dr Darlington emphasises is the difference between audiobooks and audio dramas. While traditional audiobooks are straightforward readings of texts, often by a single narrator, audio dramas are more akin to “audio movies,” featuring soundscapes, music, and multiple actors. This difference extends to production methods:

    • Continuous Recording:Favoured for commercial audiobooks, this method involves recording continuously and editing afterwards, ensuring precision.
    • Rock-and-Roll Recording: This technique, often used in rapid-turnaround projects, involves stopping and re-recording immediately after any mistakes, streamlining post-production.

    The Role of Technology

    Technological advancements have significantly influenced audiobook production. Tools like iPads have revolutionised the recording process, enabling narrators to read directly from digital screens without the noise of turning pages or using bulky equipment. This innovation has made recording more efficient and accessible, particularly for home-based producers.

    Enhanced Audiobooks: A Niche Yet Growing Market

    Enhanced audiobooks, featuring elements of sound design and music, occupy a middle ground between traditional audiobooks and audio dramas. Dr Darlington describes these as a “spectrum,” with varying levels of immersion:

    • Minimal Enhancement: Subtle sound effects or music at chapter breaks.
    • Full Immersion: Complex soundscapes and environmental effects designed to transport listeners into the narrative.

    While these productions can elevate the listening experience, they are labour-intensive and costly, often reserved for children’s literature or franchise-based content like Doctor Who.

    Challenges and Innovations in Sound Design

    Creating compelling sound design requires careful timing and restraint. For instance, a battle scene in an audiobook must balance dramatic sound effects with the clarity of narration. Dr Darlington underscores the importance of prioritising the words, ensuring that any added elements enhance rather than overshadow the storytelling.

    DIY Audiobook Production

    The rise of accessible technology has democratised audiobook production, enabling individuals to record and distribute their work independently. While this trend has introduced diverse voices into the market, Dr Darlington notes that professional studios still hold an edge in quality and polish. The challenge lies in navigating a fractured industry, balancing high-quality productions with the growing prevalence of DIY efforts.

    The Growing Audiobook Market

    The audiobook industry has seen remarkable growth in recent years, with global revenues surpassing £4 billion annually. This growth is driven by the increasing popularity of digital platforms, the convenience of audiobooks for multitasking listeners, and a growing library of diverse titles. As more people embrace audiobooks for entertainment and learning, the industry continues to expand, contributing significantly to the global GDP.

    Looking Ahead

    As the audiobook industry continues to grow, Dr Darlington envisions a future where sound design becomes a more integral part of storytelling. However, he acknowledges that the demand for traditional, unembellished audiobooks remains strong. The key to success lies in understanding the audience and adapting to their preferences while maintaining the artistry and technical excellence that define the medium.

    Dr David Darlington’s insights offer a comprehensive view of audiobook production, blending creativity with technical expertise. Whether you’re a budding producer or an avid listener, his reflections underscore the transformative power of sound in bringing stories to life.

     

  • A Journey Through the Art of Radio Drama: Tony Palermo

    Radio drama may seem like a bygone art in today’s world of high-definition visuals and digital effects. Yet, as Tony Palermo—renowned sound effects artist, radio dramatist, director, and composer—illustrates, this timeless medium still captivates audiences by harnessing the power of sound and imagination. In a his lecture, Tony shared his experiences and philosophies that have shaped his career, offering a deep dive into the world of storytelling through sound. His journey, marked by innovation and artistry, is as compelling as the sounds he crafts.

    Tony Palermo with radio sound effects props

    The Essence of Sound in Storytelling

    Tony began by reminding us that storytelling through sound is as old as humanity itself. From prehistoric times, humans have used sound to share experiences, mimic nature, and convey emotions. This primal connection to sound makes radio drama an inherently intimate and imaginative medium. He emphasised that sound is a powerful tool to convey clarity in storytelling. A single sound cue can suggest an entire scene, but the key lies in striking a balance—providing just enough to guide the listener’s imagination without overwhelming them. As Tony aptly put it, “We sketch the scene; we don’t paint it.”

    From Pirate Radio to Hollywood

    Tony’s career began in the world of pirate radio and AM music deejaying. His early experiments with sound led to writing radio ads for iconic music acts like U2 and Michael Jackson. Over the last two decades, he has specialised in radio drama, blending manual sound effects with live performances to create immersive experiences. His mentors—who worked with legends like Orson Welles and Jack Benny—inspired him to master the art of manual sound effects. Tony’s work often involves creating sounds in real-time alongside actors, using inventive techniques and handcrafted devices.

    The Craft of Sound Effects

    Tony shared several anecdotes that showcased his ingenuity:

    • Snake Crawling Backwards Up a Bell Cord: When faced with an impossible script direction, Tony advocated for adding clarifying dialogue to help the audience interpret the sound. This collaboration between sound artist and writer exemplifies the importance of teamwork in creating effective audio storytelling.
    • Mechanical Soundscapes: Whether simulating a plane crash with a vibrating pen on a cardboard box or recreating jungle ambience with bird calls and crash boxes, Tony’s dedication to mechanical sound effects brings authenticity to his productions.

    Listening as an Art

    A standout element of the lecture was Tony’s focus on the art of listening. He encouraged aspiring sound artists to tune into not just natural sounds but also human vocalisations. The nuances of breath, tone, and non-verbal expressions can add depth and emotion to characters and scenes.

    The Theatre of the Mind

    One of the most fascinating aspects of radio drama is its ability to transport listeners to places beyond the reach of visuals. Tony’s work with live radio productions, such as those with L.A. Theatre Works, underscores the magic of combining sound with live performances to captivate audiences. From the doors and floors that frame dramatic entrances to the subtleties of a character’s interaction with a doorknob, Tony demonstrated how small details can enrich storytelling. These elements become subconscious cues that guide the listener’s imagination, making the experience both personal and vivid.

    For Aspiring Sound Artists

    Tony’s advice to aspiring sound artists is both practical and inspiring:

    1. Start Small: Use household items to practise creating sound effects. A creaky door or a pair of shoes can be a gateway to storytelling.
    2. Learn to Listen: Develop an ear for detail by observing how sound interacts with the environment and human emotion.
    3. Embrace Simplicity: As Tony highlighted, the best sound effects are those that serve the story without stealing focus.
    4. Collaborate and Innovate: Work closely with writers and directors to ensure clarity and creativity in your contributions.

    Conclusion

    Tony Palermo’s lecture was a masterclass in the art and science of radio drama. His passion for sound as a storytelling medium reminds us of its unique ability to spark imagination and evoke emotion. Whether you’re a seasoned sound artist or a curious listener, Tony’s insights offer a renewed appreciation for the craft of audio storytelling. As Tony himself said, “We hitch the ear to the imagination.” In an age dominated by visuals, his words serve as a powerful reminder of the timeless magic of sound.

     

  • Unveiling the World of Theatre Sound Design with Liz Atkinson

    Liz Atkinson, a seasoned theatre sound designer and composer, delivered an engaging online guest lecture that delved into the artistry, techniques, and collaborative process of crafting immersive soundscapes for live performances.

    Liz Atkinson

    Discovering the Art and Craft of Theatre Sound Design

    Sound design in theatre is an intricate blend of artistry and technical expertise, and Liz Atkinson, a professional sound designer and composer, offers a compelling insight into this fascinating field. With over 15 years of experience and a Master’s degree in sound design, Liz’s journey reflects both passion and innovation, making her an inspiring figure for aspiring designers.

    From Stage to Sound

    Unlike many sound designers who begin their careers as sound engineers or musicians, Liz’s path was rooted in her love for theatre. Captivated by the storytelling magic of live performances during high school, she pursued undergraduate studies in theatre, eventually finding her niche in sound design. Her work demonstrates how sound can be as pivotal to storytelling as the script, set, or lighting, seamlessly weaving atmosphere, emotion, and narrative.

    The Role of a Sound Designer

    Liz describes her role as akin to a set designer—while they decide the physical layout and appearance of a stage, she shapes the auditory experience. Her medium isn’t physical walls or furniture but soundscapes and musical scores. From creating realistic city atmospheres to composing original music, her work elevates the theatre experience, transforming what’s on the script into a multisensory journey for the audience.

    Challenges and Collaborations

    Theatre sound design is inherently collaborative. Liz works closely with directors, actors, and other designers to achieve a cohesive artistic vision. Despite the challenges—such as navigating creative differences or limited resources—she views this collaboration as one of the most rewarding aspects of her profession.

    Breaking Stereotypes and Setting Standards

    Liz acknowledges the strides made in recognising sound design as an integral part of theatre production. While it’s now common to have a sound designer on the team, challenges remain, particularly regarding equal pay and opportunities for women in this male-dominated field. Liz is optimistic about the future, advocating for respect, equality, and the inclusion of sound designers in early creative discussions.

    The Joy of Live Theatre

    For Liz, the essence of theatre lies in its liveness. She strives to avoid over-amplifying performances, which can detract from the raw, immediate connection between actors and the audience. By blending recorded sound effects, atmospheric noise, and music, she crafts auditory landscapes that enrich the story without overwhelming the viewer.

    Advice for Aspiring Designers

    Liz emphasises the importance of reputation and networking. Most of her career opportunities have arisen from connections rather than formal applications. She encourages young designers to immerse themselves in their local theatre scene, engage with fellow creatives, and continuously hone their craft.

    A Final Note

    Liz’s work underscores the transformative power of sound in storytelling. Her ability to balance technical precision with creative flair ensures that each production resonates deeply with its audience. As she continues to push boundaries, Liz’s contributions to theatre sound design serve as a testament to the vital role sound plays in the arts. Whether you’re a theatre enthusiast, an aspiring sound designer, or simply curious about the magic behind the curtain, Liz Atkinson’s insights offer a rich perspective on the art of storytelling through sound.

The BSc (Hons) Sound Design at Edinburgh Napier University is a comprehensive four-year programme that equips students with the skills to seamlessly integrate sound into various media, products, and environments. The curriculum covers both linear and interactive media, allowing students to specialise in areas such as film, radio, television, theatre, and video games. Collaborative projects with peers from disciplines like Acting, Digital Media, and Games Development are integral to the course, fostering a multidisciplinary approach. Additionally, students benefit from online guest lectures by internationally recognised sound designers, providing valuable industry insights.  

Close up of mixing console in D38