Haley Shaw’s “Flurry” provides the macro concept of “Being surrounded in a tight area.”

By making the primary tones jump between the left and right sides with a regulated rhyme and distance, “Flurry” successfully created a spatial feeling of “inside the dome”.(This is the macro-micro concept)

I guess the universal way of building a new world(Visual, audio, etc.) is to always start with something vague but unique(macro) and then specify it into something clear and iconic(macro). And yes, a lot of samples from here and there are definitely going to help this process.

The world of sound can be too abstract to build and understand. That is why I found this list of rules from Haley Shaw quite helpful (hopefully):

• What world is the narrative taking place in, and what are the rules of that world?
• What music or sound design is used where? Where is scoring? How is it used?
• How do we transition from one scene or section to another?
• Is the music and sound design dense or sparse throughout? When and why?
• What is the general pace of the sonic content?
• Which sounds are diegetic (meant to be heard as within the story), and which are non-diegetic? This is especially useful in pieces that have a host or narration.
• Are there any large set pieces or musical moments to plan for?

Now, the only thing left here is a little more courage to start…