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Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production

Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within... Digital audio took its first, tentative steps towards widespread acceptance over forty years ago with the adoption of the Compact Disc as a de-facto standard for auditioning music, with cinema embracing digital encoding and reproduction a decade later. Somehow, broadcast audio production and post-production processes managed to remain some distance behind. But coinciding with television broadcasters worldwide adopting radically new soundtrack loudness standards, sound for all moving pictures may now be described as being universally serviced in the digital domain. Television's place in this digital jigsaw has accelerated product development and the take-up of affordable audio technology by contemporary sound practitioners, and mature digital recording and production methods are being replaced by modern techniques, tools and protocols ­ along with a questionable The New Soundtrack 6.1 (2016): 77­107 DOI: 10.3366/sound.2016.0084 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound KEYWORDS audio post-production creativity emotions Digital Audio Workstation loudness Neil Hillman and Sandra Pauletto assumption in some quarters of moving picture production, that irrespective of budget, experience or technical training, anyone can now create an acceptable soundtrack for film or television. So is it time to reflect and examine a new approach to sound design? In this paper we will http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production

Hillman, Neil; Pauletto, Sandra
The New Soundtrack , Volume 6 (1): 77 – Mar 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0084
Publisher site
See Article on Publisher Site

Abstract

Digital audio took its first, tentative steps towards widespread acceptance over forty years ago with the adoption of the Compact Disc as a de-facto standard for auditioning music, with cinema embracing digital encoding and reproduction a decade later. Somehow, broadcast audio production and post-production processes managed to remain some distance behind. But coinciding with television broadcasters worldwide adopting radically new soundtrack loudness standards, sound for all moving pictures may now be described as being universally serviced in the digital domain. Television's place in this digital jigsaw has accelerated product development and the take-up of affordable audio technology by contemporary sound practitioners, and mature digital recording and production methods are being replaced by modern techniques, tools and protocols ­ along with a questionable The New Soundtrack 6.1 (2016): 77­107 DOI: 10.3366/sound.2016.0084 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound KEYWORDS audio post-production creativity emotions Digital Audio Workstation loudness Neil Hillman and Sandra Pauletto assumption in some quarters of moving picture production, that irrespective of budget, experience or technical training, anyone can now create an acceptable soundtrack for film or television. So is it time to reflect and examine a new approach to sound design? In this paper we will

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2016

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