This volume provides a comprehensive introduction to foundational topics in sound design for linear media, such as listening and recording; audio postproduction; key musical concepts and forms such as harmony, conceptual sound design, electronica, soundscape, and electroacoustic composition; the audio commons; and sound’s ontology and phenomenology.
The reader will gain a broad understanding of the key concepts and practices that define sound design for its use with moving images as well as important forms of composed sound. The chapters are written by international authors from diverse backgrounds who provide multidisciplinary perspectives on sound in its linear forms.
The volume is designed as a textbook for students and teachers, as a handbook for researchers in sound, media and experience, and as a survey of key trends and ideas for practitioners interested in exploring the boundaries of their profession.
About the Author
Michael Filimowicz, PhD, is Senior Lecturer in the School of Interactive Arts and Technology (SIAT) at Simon Fraser University and coeditor of The Soundtrack journal. He develops new forms of general-purpose multimodal and audiovisual display technology, exploring novel product lines across different application contexts including gaming, immersive exhibitions, control rooms, telepresence and simulation-based training. He has published across disciplines in journals such as Organised Sound, Arts and Humanities in Higher Education, Leonardo, Sound Effects, Parsons Journal for Information Mapping and Semiotica. His art has been exhibited internationally at venues such as SIGGRAPH, Re-New, Design Shanghai, ARTECH, Les Instants Vidéo, IDEAS, Kinsey Institute, and Art Currents, and published in monographs such as Spotlight: 20 Years of the Biel/Bienne Festival of Photography, Reframing Photography and Infinite Instances. His personal website is http://filimowi.cz.
Table of Contents
Series Preface – Michael Filimowicz
Volume Introduction – Michael Filimowicz
- The Nature of Sound and Recording – Andrew Knight-Hill
- Invisible Seams: the Role of Foley and Voice Postproduction Recordings in the Design of Cinematic Performances – Sandra Pauletto
- Media Management, Sound Editing and Mixing – George Kalliris, Charalampos A. Dimoulas, Maria Matsiola
- Audio Effects in Sound Design – Brecht De Man
- The Mix Stems: Voice, Effects, Music, Buses – Neil Hillman
- Mixing and Mastering – Paul Geluso
- Designing Sound for 3D Films – Damian Candusso
- Compositional Techniques for Sound Design – Sarah Pickett
- Music Theory for Sound Designers – Adam Melvin and Brian Bridges
- Leveraging Online Audio Commons Content for Media Production – Anna Xambó, Frederic Font, György Fazekas and Mathieu Barthet
- Sound Ontologies: Methods and Approaches for the Description of Sound – Davide Andrea Mauro and Andrea Valle
- Electroacoustic Music: An Art of Sound – Andrew Knight-Hill
- Electronic Dance Music in Narrative Film – Roberto Filoseta
- Soundscape Composition: Listening to Context and Contingency – John L. Drever
- From Feeling Vibrations to Building Audiovisual Scenes: The Perceptual Practice of Storytelling with Sound – Isabelle Delmotte