1. APPLY APPROPRIATE TECHNIQUES FOR SOUND DESIGN TO A VISUAL AND NON-VISUAL NARRATIVE Application

2. DEMONSTRATE AN UNDERSTANDING OF THE PRACTICAL AND THEORETICAL FUNDAMENTALS OF SOUND DESIGN FOR VISUAL AND NON_VISUAL MEDIA Communication

3. EXAMINE, APPLY AND CONTRAST THE TECHNIQUES APPROPRIATE FOR VISUAL AND NON-VISUAL SOUND DESIGN Understanding

1. Plan, create and develop an original sound design for a short example of non-visual time-based media 40% (Audio 4.5 minutes) [LO1, 2, 3,]

2. Plan, create and apply an original sound design for a short piece of visual time-based media 40% (Visual 3-5 minutes) [LO1, 2, 3,]

3. Write a 1,500-word reflection contrasting the practical application of sound design for visual and non-visual media 20% [LO3]

This module will explore the conventions, differences and narrative functions of sound design for visual and non-visual media. Students will apply appropriate techniques to create meaning and reflect on how these techniques contrast and share similarities within their practice.

Understand the use of sound design for visual and non-visual media
Use of appropriate audio techniques
Recording and processing audio
Use of narrative codes and concepts to create meaning
Reflection
Analysis

Gain the skills, knowledge and experience that allow students to take your sound design skills to the next level. Working with visual and non-visual projects, students will experience industry ready skills and practices to equip them for the broad range of experiences offered to sound designers in the broadcasting and film industries.

Learning Strategies can include:

Contact/Scheduled learning and Teaching Activities:¿
One-to-one tutorials¿
Risk Assessment, health and safety, ethics input¿
Academic workshops/presentations¿
Small group sessions (seminars, tutorials, debates)¿

NB: This module will be accompanied by a comprehensive handbook and VLE support.¿
You will be expected to take advantage of the extensive library facilities and on-line tutorials via Linked-in Learning and BoB.¿

Guided Independent Study Activities:¿
Independent practice¿
Research¿
Group meetings¿
Personal development planning¿
Teamwork¿
Networking events¿
Blackboard VLE, Lynda.com and BoB access¿
Independent Study in support of your project work.

Ament, V.T. (2014). The Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Oxford: Focal Press.
Cross, M. (2013). Audio Post Production: For Film and Television. Milwaukee, WI: Berklee Press Publications.
Farnell, Andy (2010). Designing Sound. Cambridge (Mass): MIT Press.
Holman, Tomlinson (2010). Sound for Film and Television. Abingdon: Focal Press.
Marks, A. (2008). The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, Game Developers. Oxford: Focal Press.
Rumsey, F. (2001). Spatial audio. Music technology series. Oxford: Focal Press.
Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael Wiese Productions.
Viers, R. (2014). The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Studio City, CA: Michael Wiese Productions.
Whittington , William (2007) Sound Design and Science Fiction. Texas: University of Texas Press.
Wyatt, H. & Amyes, T. (2004). Audio Post Production for Television and Film: An introduction to technology and techniques. 3rd Ed. Focal Press.

Music recording / post-production studios
Media stores / resource centre
Music laboratories

Avid Pro Tools software
Apple Logic software
Ableton Live software
Adobe Audition software
Cycling 74 Max software
Pure Data software
Various additional third-party audio plug-ins by McDSP, Avid, Eventide, Michael Norris.

Microsoft Office software

Books, eBooks and audio recordings via the Library
Lynda.com Training library

Online hosting (e.g. Soundcloud, Vimeo) and transfer (e.g. WeTransfer) services