Designing Sound

Designing Sound teaches students and professional sound designers to understand and create sound effects starting from nothing. Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic...

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Bibliographic Details
Main Author: Farnell, Andy 1969- (Author)
Format: Book
Language:English
Published: Cambridge, Mass. Mit Press 2010
©2010
Subjects:
Online Access:Click Here to View Status and Holdings.
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020 # # |a 9780262014410  |q hardcover 
040 # # |a DLC  |b eng  |d UiTM  |e rda 
041 0 # |a eng 
090 0 0 |a TK7881.4  |b .F376 2010 
100 1 # |a Farnell, Andy  |d 1969-  |e author 
245 1 0 |a Designing Sound  |c Andy Farnell 
264 # 1 |a Cambridge, Mass.  |b Mit Press  |c 2010 
264 # 1 |c ©2010 
300 # # |a xxii, 664 pages  |b illustrations  |c 24 cm 
336 # # |a text  |2 rdacontent 
337 # # |a unmediated  |2 rdamedia 
338 # # |a volume  |2 rdacarrier 
504 # # |a Includes bibliographical references and index. 
520 # # |a Designing Sound teaches students and professional sound designers to understand and create sound effects starting from nothing. Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic principles of making ordinary, everyday sounds using an easily accessed free software. Readers use the Pure Data (Pd) language to construct sound objects, which are more flexible and useful than recordings. Sound is considered as a process, rather than as data-an approach sometimes known as "procedural audio." Procedural sound is a living sound effect that can run as computer code and be changed in real time according to unpredictable events. Applications include video games, film, animation, and media in which sound is part of an interactive process. The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. [Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and the implementation of examples, to the final step of producing a Pure Data program for the desired sound. Different synthesis methods are discussed, analyzed, and refined throughout.] After mastering the techniques presented in Designing Sound, students will be able to build their own sound objects for use in interactive applications and other projects. 
526 0 # |a FFF121  |b FF111  |5 FF 
526 0 # |a Single Camera Production  |b DIPLOMA IN FILM  |5 Faculty of Film, Theatre and Animation 
650 # 0 |a Computer sound processing 
650 # 0 |a Sound  |x Recording and reproducing  |x Digital techniques 
650 # 0 |a Sounds 
650 # 0 |a Motion pictures  |x Sound effects 
650 # 0 |a Animated films  |x Sound effects 
650 # 0 |a Video games  |x Sound effects 
856 4 0 |z Click Here to View Status and Holdings.  |u https://opac.uitm.edu.my/opac/detailsPage/detailsHome.jsp?tid=962234