The majority of our sound recordings were conducted at CMC after 7 PM, a time when the area is relatively quiet. The vastness of many spaces in CMC, especially after hours, lent itself well to mimicking the echoes in a parking lot. We also utilized a variety of props and conducted most of our recording sessions in the CMC’s Production Center. Outdoor recording presented challenges, notably the intrusive sound of the wind, hence our preference for CMC. We fashioned distinct sound effects using various items like water bottles, branches, and sheets of plastic, through techniques such as tearing, hitting, and rubbing.

One particular recording process that I found intriguing was capturing the sound of running up and down stairs. The rhythm and echo varied significantly across different floors, an unexpected outcome that added a unique layer to our project.

During the recording process, we did not initially assign sound directionality; instead, we repositioned the sound in Reaper. We utilized different FX, such as adjusting the high and low frequencies in the sound source to simulate a more realistic sound.

Upon completing all the recordings, we found the process highly engaging. The playback after each recording session was a testament to the charm of ambisonic sound. For instance, descending stairs with varying paces and echoes evoked drastically different sensations. Initially, we perceived this as a challenging project due to the need to scout locations and create sounds, and then record them using the Z3h recorder. Given our desire to fully exploit the features of ambisonics, we invested considerable time in designing the sounds to create a more enriched experience for the audience.