Spatial Audio Design:Task 3 Audio Storytelling
ZHOU YUTONG / 0378676
Spatial Audio Design / Bachelor of Design (Honours) in Creative Media
20/10/2025 - 2025 | Week 8-week10
Task 3 Audio Storytelling
TABLE OF CONTENT
TASK 3
Project 3 focuses on developing a Beta Prototype of a virtual environment where spatial audio acts as the primary storyteller. The objective of this project is not to redesign the entire game visually, but to demonstrate how binaural audio, multichannel sound, and ambisonics can drive narrative, immersion, and player experience within a virtual space.
Rather than replacing every single sound in the game, this project prioritises key narrative-driven and interaction-based audio elements, ensuring that spatial audio design enhances clarity, emotional impact, and environmental realism.
Our group consisted of myself, Guan Yu, and Huang Jiaqi. The project emphasized not only technical execution but also collaboration, communication, and iterative improvement through user testing.
Team Collaboration and Workflow
We worked as a small production team, dividing tasks based on individual strengths while maintaining clear communication throughout the process.
Huang Jiaqi
Organised and structured the audio asset list for the entire game.
Recorded home-based audio prototypes as early test sounds.
Participated in studio recording, focusing on monster (Chomper) sound design, including growls, attacks, and death sounds.
Conducted audio replacement and integration in Unity, ensuring correct spatial positioning and narrative consistency.
Guan Yu
Operated the recording studio equipment during the studio session.
Handled Unity scene construction and implementation, including spatial audio setup and testing.
Assisted in audio refinement and Unity audio replacement during Weeks 13 and 14.
My role
Recorded various audio assets for characters and interactions.
Used Adobe Audition to clean, edit, and polish recorded sounds.
In Week 12, we booked the recording studio on Friday morning to record all necessary audio assets. This session allowed us to capture higher-quality recordings compared to home setups, particularly for expressive and dynamic sounds such as monster vocals and combat effects.
The recorded audio included:
Character sounds: Ellen’s movement, combat, and damage sounds
Enemy sounds: Chomper’s idle, attack, hurt, and death
Environmental ambience: forest atmosphere, wind, subtle environmental details
Interactable object sounds: doors, crates, pickups, switches
we systematically followed the Audio Asset List to capture each sound category—character, enemy, environment, and interactable objects.
Recording studio audio link:https://drive.google.com/drive/folders/1Eu90btzkVbHyjWLTkouORzNTipkeGy1h?usp=share_link
Game Audio Asset List
This structured and well-equipped recording environment allowed us to capture high-fidelity, dynamic audio that met the project specifications and could be directly used for editing and integration into Unity.
The recorded audio included:
Character sounds: Ellen’s movement, combat, and damage sounds
Enemy sounds: Chomper’s idle, attack, hurt, and death
Environmental ambience: forest atmosphere, wind, subtle environmental details
Interactable object sounds: doors, crates, pickups, switches
This structured and well-equipped recording environment allowed us to capture high-fidelity, dynamic audio that met the project specifications and could be directly used for editing and integration into Unity.
The recorded audio included:
Character sounds: Ellen’s movement, combat, and damage sounds
Enemy sounds: Chomper’s idle, attack, hurt, and death
Environmental ambience: forest atmosphere, wind, subtle environmental details
Interactable object sounds: doors, crates, pickups, switches
Week 13 – Audio Editing and Integration in Unity
In Week 13, we focused on post-production of the recorded audio and integration into the Unity project. The process began with audio editing, where we cleaned up the raw recordings by removing background noise, normalizing volume levels, and applying minor effects such as EQ, reverb, or compression where necessary. Adobe Audition was primarily used for this stage, ensuring that each sound was polished and consistent with the game’s aesthetic.
In accordance with the division of responsibilities, me is responsible for audio enhancement.
Background sound effects
Used props such as cardboard, cups, and human voice to create realistic and dynamic movement sounds.
Recorded in the studio with condenser microphones and pop filters to capture high-fidelity audio.
When adjusting the audio, I used parametric curves, pitch shifting, distortion, and softening effects to achieve the desired audio alteration.
Top 3 Selected Sounds:
1.Audio_Mixing_Cave Ambience
Audio_Shrinkage_Background Sound
Audio_Shrink_Water Drop Sound
In Week 13, we focused on post-production of the recorded audio and integration into the Unity project. The process began with audio editing, where we cleaned up the raw recordings by removing background noise, normalizing volume levels, and applying minor effects such as EQ, reverb, or compression where necessary. Adobe Audition was primarily used for this stage, ensuring that each sound was polished and consistent with the game’s aesthetic.
In accordance with the division of responsibilities, me is responsible for audio enhancement.
Background sound effects
Used props such as cardboard, cups, and human voice to create realistic and dynamic movement sounds.
Recorded in the studio with condenser microphones and pop filters to capture high-fidelity audio.
When adjusting the audio, I used parametric curves, pitch shifting, distortion, and softening effects to achieve the desired audio alteration.
2. Character Sounds (Ellen)
Process: ：
Used props such as cardboard, cups, and human voice to create realistic and dynamic movement sounds.
Recorded in the studio with condenser microphones and pop filters to capture high-fidelity audio.
Edited in Adobe Audition for clarity, consistent volume, and added slight effects (EQ, compression).
Top 3 Selected Sounds: Audio_Shrink_Character hit by attack
Audio_Shrink_Character Death
Audio_Shrinkage_Character Landing
Used props such as cardboard, cups, and human voice to create realistic and dynamic movement sounds.
Recorded in the studio with condenser microphones and pop filters to capture high-fidelity audio.
Edited in Adobe Audition for clarity, consistent volume, and added slight effects (EQ, compression).
3. Monster Sounds (Chomper)
Process:
Experimented with growls and hisses to convey different emotional states: idle, attack, hurt, death.
Recorded using human voice in the studio, applying multiple takes to achieve variety and expressiveness.
Selected the best takes and adjusted pitch and timing in Adobe Audition for realism.
Top 3 Selected Sounds:
Audio_Shrink_Monster Death
Process:
Experimented with growls and hisses to convey different emotional states: idle, attack, hurt, death.
Recorded using human voice in the studio, applying multiple takes to achieve variety and expressiveness.
Selected the best takes and adjusted pitch and timing in Adobe Audition for realism.
Top 3 Selected Sounds:
Monster InjuryMonster Attack
4. Interactable Objects
Process:
Tested household objects to simulate doors, crates, and pickups.
Recorded multiple takes in the studio, experimenting with different materials and techniques.
Edited sounds for consistency and to make them blend naturally into the game environment.
Top 3 Selected Sounds:
Audio_shrinkage_Crate Break
Tested household objects to simulate doors, crates, and pickups.
Recorded multiple takes in the studio, experimenting with different materials and techniques.
Edited sounds for consistency and to make them blend naturally into the game environment.
Audio_Shrink Mix_Weapon Swing
Audio_shrinkage_switch
Editor's sound effects link:https://drive.google.com/drive/folders/1IZ8rZ2qH96b55HSB7FhWmEFt0ZZ2-wrY?usp=share_link
The work of inserting audio into Unity was handled by Guan Yu and Huang Jiaqi.The task of inserting audio into Unity was handled by Guan Yu and Huang Jiaqi. The following is a record of their process during the task.
After completing the audio recording and editing in Week 13, the next step was to integrate the sounds into the Unity project. This process involved importing, replacing, and configuring all audio assets to ensure they aligned with gameplay mechanics and player interactions.
For reference
Importing Audio Assets
All finalized audio files were imported into Unity via the Project window. Each file was organized into folders according to category: Character, Enemy, Environment, and Interactable Objects.Replacing Placeholder Sounds
Existing placeholder sounds were replaced with the new high-quality recordings:Ellen’s footsteps, jumps, and combat sounds were linked to animation events and scripts controlling movement and attacks.
Chomper’s idle growls, attack, hurt, and death sounds were linked to AI scripts for proper timing during gameplay.
Interactable object sounds such as doors, crates, pickups, and switches were recorded and implemented by Huang Jiaqi and Guan Yu, ensuring they responded correctly to player interactions
Fig 1.10 Unity Process
Fig 1.11Unity Process
Fig 1.12 Unity ProcessConfiguring Audio Sources
Each audio source was adjusted for spatial blend, volume, pitch, and 3D sound settings to create immersive audio:3D spatialization was applied to footsteps, environmental effects, and interactable objects to reflect their positions in the game world.
Looping and trigger settings were applied to ambient sounds and continuous effects like forest ambience or dropship background.
Fig 1.13 Replace the audio process
Fig 1.14 Replace the audio process
Fig 1.15 Replace the audio process
Fig 1.16 Replace the audio process
Testing and Fine-Tuning
After integration, gameplay scenes were tested to ensure all sounds played at appropriate moments, with correct timing, volume, and spatial effects. Minor adjustments were made to pitch, volume, and delay to enhance realism and immersion. This process for interactable objects was carried out by Huang Jiaqi and Guan Yu, with Guan Yu providing guidance on technical settings.
Fig 1.17 Audio adjustment
Fig 1.18 Audio adjustmentGame testing
Fig 1.19 Game testing
Fig 1.20 Game testing
After integrating all audio assets into Unity, we conducted comprehensive game testing to ensure that sounds were correctly implemented and enhanced the gameplay experience. The testing process included:
Functionality Testing
Verified that all character sounds (Ellen’s footsteps, jumps, attacks, and damage) triggered at the correct animation events.
Checked that enemy sounds (Chomper’s idle growls, attacks, hurt, and death) were synchronized with AI behavior and responded appropriately to player actions.
Ensured interactable object sounds (doors, crates, pickups, switches) played reliably when interacted with.
Final submission of game video capture (with audio)
Youtube Link：https://youtu.be/E7nG_z83gCU
Google drive Link:https://drive.google.com/drive/folders/1AyzEiAKvchcRUi507UQaRiJ9YSfOeek5?usp=share_link
FEEDBACK
During the game testing phase, feedback was gathered from both team members and external playtesters regarding the audio implementation. Key points included:
Character Sounds: Ellen’s footsteps and combat sounds were generally clear and responsive, though a few jump and landing sounds required slight volume adjustments to better match animation intensity.
Enemy Sounds: Chomper’s growls and attack sounds were effective in creating tension, but some hurt sounds were reported as slightly repetitive, suggesting minor variations could improve realism.
Environmental and Interactable Sounds: The ambience and object interaction sounds were well-received, enhancing immersion. However, some spatial audio effects needed fine-tuning to ensure proper directional perception.
Overall Audio Experience: Testers appreciated the dynamic and immersive audio environment. Suggestions included minor adjustments in pitch, volume, and delay for certain sounds to improve consistency and realism.
This feedback helped us identify areas for final refinement before project submission.
Character Sounds: Ellen’s footsteps and combat sounds were generally clear and responsive, though a few jump and landing sounds required slight volume adjustments to better match animation intensity.
Enemy Sounds: Chomper’s growls and attack sounds were effective in creating tension, but some hurt sounds were reported as slightly repetitive, suggesting minor variations could improve realism.
Environmental and Interactable Sounds: The ambience and object interaction sounds were well-received, enhancing immersion. However, some spatial audio effects needed fine-tuning to ensure proper directional perception.
Overall Audio Experience: Testers appreciated the dynamic and immersive audio environment. Suggestions included minor adjustments in pitch, volume, and delay for certain sounds to improve consistency and realism.
REFLECTION
Challenges Faced During Sound Creation and Implementation
One of the main challenges in this spatial audio storytelling project was creating high-quality narrative-driven audio within a limited timeframe. During the sound creation stage, we relied on everyday objects and human voices to simulate character movements, monster behaviors, and environmental details, which required careful imagination and control. Early recordings sometimes lacked emotional clarity or depth, reducing their narrative impact. Additionally, implementing spatial audio in Unity presented issues such as inaccurate positioning and unnatural volume attenuation, requiring repeated adjustments of Audio Source parameters and listener placement.
Design Iterations and Refinements
To address these issues, we conducted multiple design iterations. In the recording stage, we increased take numbers, experimented with performance techniques, and tested different props to enhance dynamic range and emotional expression. In post-production, I used Adobe Audition to clean, normalize, and refine sounds, applying EQ, compression, and pitch adjustments where needed. In Unity, the team repeatedly tuned 3D Sound Settings, Spatial Blend, and Reverb Zones to ensure realistic spatial positioning and consistent narrative cues. These iterative refinements significantly improved the overall audio experience.
What Worked and What Did Not
The approach of using sound as the primary storyteller proved very effective. For example, Chomper’s directional and attack sounds guided player attention without visual cues, enhancing tension. Environmental ambience, such as forest wind and cave echoes, successfully established spatial depth and presence. However, some over-processed sounds felt unnatural in the game, which reduced immersion. This highlighted that more effects do not necessarily lead to better spatial audio, and every sound must serve the narrative and player experience.
How Sound Design and Spatial Placement Improved Immersion
Careful sound design and spatial placement significantly enhanced immersion. Character audio provided immediate feedback for player actions, monster sounds created tension and anticipation, and ambient sounds helped players understand the spatial layout. Overall, spatial audio not only complemented visual cues but became a key driver of narrative and emotional experience, making the virtual environment more vivid and engaging.
Overall Reflection
This project deepened my understanding of the central role of spatial audio in virtual storytelling. Through teamwork, repeated testing, and iterative improvements, we demonstrated how sound can independently guide player experience. The project strengthened my practical skills in recording, editing, and spatial audio implementation, while providing valuable insight into the future potential of sound-driven narrative in interactive media.
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