Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Editorial

Editorial The journal is grateful for Sandra Pauletto's guest-editorship of our last issue, Volume 4.2, which explored some of the issues which are less travelled in this publication, that is, those having to do with the technological issues which underpin sound practice. This issue begins with a discussion on how technological developments can possibly hinder creativity. MONO ­ WHY NOT? From the beginning of sound film, a series of technological developments have brought about changes in the way film sound is produced. As with most technological advances, the new not only replaces the old but the old ­ and its often endearing qualities ­ is forgotten. For example, stereo soundtracks for film were introduced in the early 1950s, though from that time until the introduction of Dolby in 1975 most films were still released in mono, aside from epics and musicals. With Dolby, stereo became the default template for film sound and that has led to the current practice of mixing almost all films (regardless of their size or budget) in surround. The inexpensive availability of 5.1 home stereo systems is testament to this process. One doesn't need to stretch one's imagination to conclude that at some point in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Editorial

The New Soundtrack , Volume 5 (1): 1 – Mar 1, 2015
Download PDF
9 pages

Loading next page...
 
/lp/edinburgh-university-press/editorial-QHxdHmM0Yw
Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2015.0064
Publisher site
See Article on Publisher Site

Abstract

The journal is grateful for Sandra Pauletto's guest-editorship of our last issue, Volume 4.2, which explored some of the issues which are less travelled in this publication, that is, those having to do with the technological issues which underpin sound practice. This issue begins with a discussion on how technological developments can possibly hinder creativity. MONO ­ WHY NOT? From the beginning of sound film, a series of technological developments have brought about changes in the way film sound is produced. As with most technological advances, the new not only replaces the old but the old ­ and its often endearing qualities ­ is forgotten. For example, stereo soundtracks for film were introduced in the early 1950s, though from that time until the introduction of Dolby in 1975 most films were still released in mono, aside from epics and musicals. With Dolby, stereo became the default template for film sound and that has led to the current practice of mixing almost all films (regardless of their size or budget) in surround. The inexpensive availability of 5.1 home stereo systems is testament to this process. One doesn't need to stretch one's imagination to conclude that at some point in

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2015

There are no references for this article.