Module: Sound Production

Latest Module Specifications

Current Academic Year 2025 - 2026

Module Title	Sound Production
Module Code	ICT1015 (ITS: CM1280)
Faculty	Humanities & Social Sciences	School	Communications
NFQ level	8	Credit Rating	5

Description

This module develops student's technical, creative and analytical abilities to work with sound for new media.

Learning Outcomes

1. Identify the characteristics of a audio artefacts; film soundtrack, radio documentaries, podcast, audio idents and adverts
2. Examine the structure of audio artefacts; radio documentaries, podcast, audio idents and adverts
3. Demonstrate proficiency in audio recording using portable digital recorders and appropriate mics.
4. Show expertise in editing and mixing a project with mixed sound sources.
5. Produce a multitrack audio project incorporating human and environmental sounds.

*Type*	*Hours*	*Description*
Workload	Full time hours per semester
Lecture	36	Lecture/Seminars/Studio Workshops
Fieldwork	18	Assignment 1: portfolio challenges
Assignment Completion	40	Assignment 2
Directed learning	15	Listening & sound gathering tasks
Independent Study	16	Technical Practice
Total Workload: 125

Section Breakdown
CRN	10817	Part of Term	Semester 1
Coursework	100%	Examination Weight	0%
Grade Scale	40PASS	Pass Both Elements	N
Resit Category	RC1	Best Mark	N
Module Co-ordinator	Declan Tuite	Module Teacher

Type	Description	% of total	Assessment Date
Assessment Breakdown
Project	Audio Assignment - Production - Sound Design for moving image or Podcast	70%	Sem 1 End
Report(s)	Portfolio:-Set of three short audio production challenges - based on editing, mixing, sound design for object or moving images	30%	Week 9

Reassessment Requirement Type
Resit arrangements are explained by the following categories; RC1: A resit is available for both^* components of the module. RC2: No resit is available for a 100% coursework module. RC3: No resit is available for the coursework component where there is a coursework and summative examination element. ^* ‘Both’ is used in the context of the module having a coursework/summative examination split; where the module is 100% coursework, there will also be a resit of the assessment

Pre-requisite	None
Co-requisite	None
Compatibles	None
Incompatibles	None

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

Module Delivery
This module is delivered through a series of lectures, workshops, demonstrations and resource-based learning

Hearing and spectral content of sound:
Frequency domain, fundamentals, harmonics, subharmonics & overtones. Principles of hearing:-Psycho-acoustics Principles of reproduction: monitoring, speakers and environment

Analysing audio
Analysing audio artefact; film sound, podcasts, radio, idents and adverts.

Techniques: Recording
Recording audio using portable digital recorders; people, environments, mics and considerations

Techniques: Sound Editing & Mixing
Cutting, layering and constructing a sonic image.

Project Development
Research, interpreting the brief, pre and post production techniques;

Indicative Reading List

Books:

Murray, L.,: 2019, Sound design theory and practice: Working with sound,
Spinelli, M., & Dann, L.: 2019, Podcasting: The audio media revolution, Bloomsbury,
Llinares, D., Fox, N., & Berry, R.: 2018, Introduction: Podcasting and podcastsâ€”Parameters of a new aural culture. In Podcasting, Palgrave Macmillan,
Emm, AdeÌ€le,: 2012, Researching for television and radioâ€™., Routledge,
McCartney, A.,: 2014, Soundwalking: creating moving environmental sound narratives. In: G. Sumanth and J. Stanyek, eds. The Oxford Handbook of mobile music studies., Oxford University Press, Oxford,
John Watkinson: 2002, An Introduction to Digital Audio, Focal Press, Oxford, England,
Montgomery, C.: 2016, Pixarticulation: Vocal Performance in Pixar Animation. Music, Sound, and the Moving Image,,
Westerkamp, H.,: 1999, Soundscape composition: Linking inner and outer worlds,
Montgomery, C.: 2016, Pixarticulation: Vocal Performance in Pixar Animation. Music, Sound, and the Moving Image,
Altman, Rick, ed.,: 1992, Sound Theory/Sound Practice, Routledge,
Gibson, David,: 1997, The Art of Mixing, MixBooks, Emeryville, CA,
Daniel Pageon: 2007, The World of the Voice-Over, Actors World Production, London,
Alec Nisbett: 1995, The Sound Studio, Focal Press, Oxford,
Gorbman, Claudia: 1987, Unheard melodies: narrative film music, Indiana University Press.,

Articles:

Chan-Olmsted, S. and Wang, R.,: 2022, Understanding podcast users: Consumption motives and behaviors., New media & society, 684, 524383
2016: How podcasting is changing the audio storytelling genre, The Radio Journal–International Studies in Broadcast & Audio Media,, 14(1),, 65, 524384, 1
The Voiceless Acousmêtre: Paranormal Activity’s Digital Surround Sound Demon’,: Music, Sound, and the Moving Image, 9 (2),, .131,

Other Resources

1: Handouts:, Materials related to training exercises,
420665: 1, Readings:, Project Brief, lecture related materials,
420666: 1, Websites:, Course related URL's,
420667: 1, Audio:, Listening exercises,
420668: 1, Video, Course related video support, Course related video support,

While filling in the ATHENA SWAN FORMS - I noticed LOOP readings had gotten ahead of course builder - this edit updates the readings to reflect the most current readings