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Fall Semester, 2004
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example Jan Mason; from Mentored Study in Sound Design

CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of another work of visual art.

STATEMENT: This abstract photographic image by Man Ray is very evocative to me... I hear the sound of a woman’s laughter, distorted, as if heard through time. I hear the sound of a whip, or something else that makes a snapping/slashing sound. Perhaps I could use the sound of a waltz, or notes from a dance. Although there is violence in the whipping white lines, and darkness in the overall piece, I don’t see this as a frightening or ominous sound, although the end result may be a bit mysterious.

SOURCE MATERIAL: clip from original music by Shannon Worrell; Valentino Sound Effects Library.

example Hunter Powers; from the Art of Sound Design

CHALLENGE: Simple Editing. Students will edit music an/or audio by rearranging the parts of a piece.

STATEMENT: I plan to make a new song/arrangement using elements from Zeppelin's "When The Levee Breaks" and "Kashmir," Cat Stevens "The Wind," The Beatles "You've Got To Hide Your Love Away" off the Beatles Anthology, and a recording of the inauguration speech from the opening of Disney Land.
I want to start with the count off " You've Got to Hide Your Love," then go to the opening drum beat from "Levee Breaks," and the opening guitar progression from "The Wind." I plan to time-shift Steven's progression down to tempo with "Levee." I will then play with those samples looping a bit, with a few excerpts from the inauguration speech edited in.

I then plan to go into the verse, chorus, and solo from "Kashmir" over the drum loop from "Levee." The "Kashmir" guitar will be recorded separately. I plan to continue laying in voice from the speech and the Beatles track. Time permitting, I want to cut up the voice elements, re-arrange them, and possibly play with pitch and timing.

After the "Kashmir," I plan to go back into the Steven's progression and then cut into the ending of "Levee."
Finally, I want to EQ/Reverb the whole track to give it a Large Hall/Live Performance feel.

SOURCE MATERIAL: Listed above.

example Benjamin Justice; from the Art of Sound Design

CHALLENGE: An Audio Environment: Students will recreate the sound of a realistic environment.

STATEMENT: I mean, I know I've never been there, but it's really easy to find samples from online sites of space station recordings, and using various other pieces of electronic equipment samples and general space ambience, I think it would work really well. It would require the use of fading. I would not want the same pulsar noise going off over and over and over again. But it would be a fun to cut up audio up and layer multiple tracks (1 for electronics, 1 for astronauts, 1 for mission control, 1 for ambience, etc).


example Hunter Powers; from the Art of Sound Design

CHALLENGE: An Audio Environment: Students will recreate the sound of a realistic environment.

STATEMENT: My soundscape will occur deep in a dense forest. It will fade in to near silence with faint ambience glistening in the background. A tree begins to crack. It comes crashing down with big bottom end. Birds fly away and wildlife awakes: crickets, insects, and small animals scurrying. It begins to rain, first softly and then quite intense. The wild life is drowned out by the now intense thunderstorm. A faint bass rumble. It gets closer and louder. It is a large animal, a dinosaur. It attacks a lion and begins to rip it apart. The attack becomes fiercer as the rain lets up. A tree begins to crack and then comes crashing down, instantly killing the dinosaur and bringing the scene back to near silence and a fade out.

I will take a 3rd person omnipotent POV for the scene, standing somewhere near where the tree falls and the lion is attacked. I hope to play a lot with stereo separation, panning, delay, and reverberation. I also hope to use the EQ to enhance the low end on the tree falling, thunder, and dinosaur. I want to possibly combine sounds from other animals to create a unique sound for the dinosaur. I am not sure I will be able to convey the sound of a dinosaur. It might very well come off as merely a monster of some fashion.

SOURCE MATERIAL: Coming soon...

These materials are examples only. They are not for intended for commercial use.

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Last Modified:
March 1, 2006