General information

Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: Third term

Credits: 6

Teaching staff: 

Antoni Satué Villar
Angel Valverde Vilabella 
Fernando David Maldonado Parrales 

Teaching languages

The bibliography is in English. Part of the teaching resources can be in Spanish or English.


Specific skills
  • E9_Apply the mechanical, electronic and digital principles of sound capture, amplification and recording for application to different platforms: shows, radio, television, audiovisual and multimedia. Postproduce the audio and add the sound effects of an audiovisual production

  • E10_Apply processes, methods and techniques to develop creativity and innovation in audiovisual production, multimedia development and video game programming

Transversal competences
  • T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources


This subject is the last of the sound subject and its main objective is, as the name suggests, to know how to do the sound post-production of an audiovisual production. In previous subjects, the contents of sound and sound production and music and musical production have been worked on; now we are looking to combine the audio elements we have, improving their quality and adapting them to the needs of a production. It is important that the student access the subject with consolidated knowledge of the previous subjects of the subject.

Learning outcomes

LO1. Use equalization and compression parameters.

LO2. Identify and correct noise generated by recording systems

LO3. Solve the mastering of a recording.

LO4. Apply sound analysis tools.

LO5. Creatively look for the sound elements needed for your goal and apply creativity.

LO6. Manage the acquisition, structuring, analysis and visualization of data and information in the field of the specialty and critically evaluate the results of this management.

RAC1. Transmit information, ideas, problems and solutions in the field of the specialty.

RAC2. Work as members of an interdisciplinary team in order to contribute to developing projects with pragmatism and a sense of responsibility, assuming commitments taking into account available resources.

Working methodology

The subject is structured in 4 h / week of theory sessions in the classroom and 2 h / week of practical sessions in the laboratory. In the theoretical classes the teacher presents concepts and examples while encouraging student participation with open questions and exercises while in the practical classes students make use of specialized audio post-production software in various situations proposed in the various practices.

In general, attendance at theoretical and practical classes is highly recommended but not mandatory, although the teacher may establish some compulsory attendance sessions (prior notice), so the student must have time availability to attend both theoretical and practical classes. All compulsory attendance sessions will be linked to an activity, so non-attendance at any of these sessions will imply the qualification of “Not Presented” to the linked activity.

The materials will be published on the virtual campus. Notices to students will also be made by this means; it is the student's responsibility to consult this virtual space regularly.

For a correct use of the subject the student must foresee a total dedication of 150 hours (hours of class + dedication out of class).


1. Postproduction of sound elements.

Introduction to post-production


Cuts and chains

Noise elimination / reduction. Analysis with spectrograms


Delays and echoes

Alterations of pitch and time (pitchshift, timestretch)



Other effects and combined effects


2. Mastering.

Introduction to mastering. Analysis with vectorscopes

Equalizers. Analysis with frequency graphs

Dynamics and normalization control

Compressors and limiters

Expanders and noise doors


3. Multichannel audio.

Introduction to multichannel audio

Surrounding configurations

Matrix envelope formats

Digital formats

Post-production and mastering of multichannel audio

Surround sound reproduction. Advanced techniques

Formats and interfaces. State of the art

Learning activities

1. Final exam (activity linked to learning outcomes RA1, RA2, RA3 and RA4, working on competences G2 and E9)

It consists of 8 exercises. It is not test type. It is individual in nature.

Duration: 1 hour

2. Oral presentation (activity linked to learning outcomes RA6 and RAC1, working on competence G4)

Each group of 4 students makes a presentation that they will later have to present. The topic can be chosen by the student in the field of audio post-production (the teacher will provide an indicative list). The presentation must be specific to the group members. To be evaluated of the presentation it will be necessary to choose the subject and to deliver the presentation in the indicated terms and to make the presentation the assigned day.

Duration: 5 minutes per person. The evaluation is individual.

3. Stereo post-production practice (2 sessions of 2 hours each) (activity linked to learning outcomes RA1 and RA5, working on skills E9 and E10)

In this practice a video will be provided to the students and they will have to do the post-production of their audio elements. The practice is done in groups of 4 students, which must be set on the day of the first session.

4. Post-production practice of surround sound (1 or 2 sessions of 2 hours each) (activity linked to learning outcomes RA3 and RA5, working on skills E9 and E10)

In this practice students will be required to post-produce audio in an enveloping format. The practice is done in the same groups as the previous activity.

5. Sound design practice in video games (5 or 6 sessions of 2 hours each) (activity linked to learning outcomes RA1, RA2, RA5, RAC1 and RAC2, working on skills G2, G4, T2, E9 and E10)

In this practice the sound requirements of a video game will be provided and students will have to respond to this need. The practice is done in groups of 4-5 students. In the last session the students will present the work done and in one of the intermediate sessions the students will make a preliminary presentation of the work done. These 2 sessions and the first session will be compulsory attendance.

Evaluation system

The weight of each activity in the final grade is proportional to the expected dedication. Thus, the exam represents 50%, the oral presentation 10%, the Foley practice 10%, the post-production practice 10% and the sound design practice 20%.

All activities must be delivered on time. Any activity not delivered within the deadline will have a rating of "Not Presented". It is recommended not to wait until the last day of the deadline to have reaction time in the event of unforeseen events.

To pass the course you must obtain a minimum grade of 5 in the final exam and a weighted minimum grade of 5 in all 3 practices. If the mark of the final exam or the joint weighted mark of the practices is lower than 5, the subject will be suspended, with the lower of the two marks.

A resit test will be offered in the case of the final exam for those students who do not pass the whole subject. It will not be possible to recover the activities of the practical part nor the oral presentation. The weight of the practical activities will be maintained in the calculation of the final mark of the students who make the recovery.

The total or partial copy in any of the learning activities would mean a “Not Presented” in the subject, without option to present in the proof of recovery and without prejudice of the opening of a file for this reason.

The teacher may request a personalized presentation of the activities either to clarify general aspects or to individualize the grades of the students. All the internship reports will include a section detailing the tasks performed by each member of the group.



Katz, Bob; Katz, Robert. (2014). “Mastering audio: the art and the science”. Focal Press, Taylor & Francis Group.


Holman, Tomlinson. (2014). "Surround sound: up and running". CRC Press.

Waddell, Gebre. (2013). "Complete audio mastering: practical techniques". McGraw.

Rose, Jay. (2009). “Audio postproduction for film and video 2nd ed.”. Elsevier.

Theme, Vanessa. (2021). "The Foley Grail. The art of performing sound for film, games and animation". Routledge.