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The Sound Design Guide
The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. -
ENT 4470 - Sound Design 2 Cl Hrs, 2 Lab Hrs, 3 Cr Pre Or Co-Requisite: ENT 2370
New York City College of Technology, CUNY Entertainment Technology Dept. 186 Jay Street, Room V-203 Brooklyn, NY 11201 (718) 260-5588 http://www.entertainmenttechnology.org/ ENT 4470 - Sound Design 2 cl hrs, 2 lab hrs, 3 cr Pre or Co-requisite: ENT 2370 Course Description: An investigation of the techniques and practices of sound design, emphasizing the use of modern computer-based recording and playback techniques. Sampling, hard-disk playback systems, sequencing, MIDI, systems integration, the use of surround systems, low- frequency elements and specials to achieve a variety of effects will be covered. Sound design practices will include script analysis, sound cue construction, integration with director and communication with other members of the design team. Additional areas of concentration will include development of cues based on functional, transitional, underscoring, surreal and hyper-real techniques; integration of musical and soundscape aesthetics; practice on Macintosh computer platforms using Digital Performer, Pro-Tools and a variety of plug-ins; programming of automation equipment and development of robust redundant systems capable of sustaining a high-use theatrical environment. Course Objectives: Students who successfully complete this course will be able to: • Analyze a proposed project (e.g. a play script) for its technical and storytelling needs. • Collaborate effectively as part of a production team. • Select and create the appropriate sound and music cues based on type and usage. • Determine the proper playback, reinforcement, and/or public address system strategy as applicable to specific projects. • Select and program the appropriate automation system for a specific project. • Design and implement the three systems—show, communications, and monitoring— necessary for all projects. -
A New Paradigm for Sound Design
Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), Montreal, Canada, September 18-20, 2006 A NEW PARADIGM FOR SOUND DESIGN Ananya Misra, Perry R. Cook†, Ge Wang Department of Computer Science (†also Music) Princeton University, Princeton, USA {amisra|prc|gewang}@cs.princeton.edu ABSTRACT separate a sound scene into the following components: (1) Deter- A sound scene can be defined as any “environmental” sound that ministic events: composed of highly sinusoidal components, of- has a consistent background texture, with one or more potentially ten perceived as pitched events, such as a bird’s chirp or a baby’s recurring foreground events. We describe a data-driven framework cry; (2) Transient events: brief non-sinusoidal events, such as foot- for analyzing, transforming, and synthesizing high-quality sound steps; (3) Stochastic background: the “din” or residue remaining scenes, with flexible control over the components of the synthe- after the removal of deterministic and transient components, such sized sound. Given one or more sound scenes, we provide well- as wind, ocean waves, or street noise. defined means to: (1) identify points of interest in the sound and TAPESTREA analyzes and synthesizes each component sepa- extract them into reusable templates, (2) transform sound compo- rately, using algorithms suitable to the component type. It applies nents independently of the background or other events, (3) contin- spectral modeling [1] to extract deterministic events, and time- ually re-synthesize the background texture in a perceptually con- domain analysis to detect transient events. Each event can then vincing manner, and (4) controllably place event templates over be transformed and synthesized individually. -
Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave
Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave. Apt 2W z St. Louis, MO 63130 z 513.319.8407 [email protected] Professional Vita Employment Washington University in St. Louis St. Louis, MO Lighting Designer / Production Manager (Summer 2007 ˘ Present) • Teach all Lighting Design courses and others as assigned • Lead Designer for main stage productions and supervisor of student designs • Production Manager for Performing Arts Department • Design / Technology Coordinator The Muny St. Louis, MO Production Manager ( 2008 ˘ 2011) • Manage build, installation and tech of a very demanding seven show summer season • Coordination between IATSE crew and Broadway designers, directors and stage managers • 11,000 seat performance venue; over $7 million budget; Broadway’s top performers • Oversee design internship company • Nation’s oldest and largest outdoor musical theatre University of Cincinnati, College Conservatory of Music Cincinnati, OH Production Manager / Adjunct Instructor (Autumn 2005 ˘ Summer 2007) • Technical coordinator of all CCM Dance & Preparatory Department concerts • Technical coordinator of all CCM Unsupported (non-mainstage) workshops for Drama, Opera and Musical Theatre • Average academic year will include about 14 productions • Coordinate and manage student crews for any non-university performance group • Instructor of Stage Lighting I in BFA curriculum (full year course) • Instructor of Introduction to Lighting (quarterly) • Numerous lectures on Architectural Lighting Design & Practice Cincinnati Fringe Festival Cincinnati, -
Sara Leino, Iald 1
FOR IMMEDIATE RELEASE CONTACT JESSICA BRAZAS IALD MARKETING + COMMUNICATIONS MANAGER PHONE +1 312 527 3677 EMAIL [email protected] IALD WELCOMES NEW PROFESSIONAL MEMBERS CHICAGO, ILL. USA (29 April 2015) – The IALD is pleased to welcome the following Professional- level members to the IALD. IALD Professional membership is available to architectural lighting designers who have at least five years of experience in the field in the role of senior designer or above in an independent consulting practice. IALD members worldwide must meet the highest educational and ethical standards in order to belong to this prestigious community, and are accepted as Professional members on the strength of their portfolios and recommendations. The following members were accepted to the IALD between 20 MARCH and 15 APRIL 2015: SARA LEINO, IALD Lighting Designer Granlund Helsinki, Finland www.grandlund.fi Sara Leino is a lighting designer at Granlund, a leading building service company in Helsinki, Finland. Sara studied lighting and sound design at the Theatre Academy of the University Arts in Helsinki, Finland. Following graduation, she worked as a freelance designer at drama theatres, contemporary dance companies and classical music performance centers. Since 2007, Sara has dedicated her time fully to architectural lighting design and has designed a wide range of lighting projects, including interior and outdoor spaces, residential, hotel, office, retail and urban projects. Several of her projects have won lighting design awards, including an Illumination Spot Award in 2011 for the exterior lighting of the Suanalahti Children’s House in Espoo, Finland. Sara is a member of the Illuminating Engineering Society (IES) of Finland and a member of the Association of Lighting and Sound Designers of Finland. -
Oldenburger Beiträge Zur Geschlechterforschung Band 12
Oldenburger Beiträge zur Geschlechterforschung Band 12 Die Schriftenreihe „Oldenburger Beiträge zur Geschlechterforschung“ wird seit September 2004 vom Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg (ZFG) herausgegeben. In variablen Abständen erschei- nen Bände von Wissenschaftlerinnen und Wissenschaftlern aus dem Kreis des ZFG zu aktuellen Fragestellungen, neueren Untersuchungen und innovativen wissenschaftlichen Projekten der Frauen- und Ge- schlechterforschung. Vor allem für Nachwuchswissenschaftlerinnen und -wissenschaftler bietet die Schriftenreihe die Möglichkeit, Projekt- berichte, Diplomarbeiten oder Dissertationen zu veröffentlichen. Herausgegeben vom Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg (ZFG) Musik und Emanzipation Festschrift für Freia Hoffmann zum 65. Geburtstag Herausgegeben von Marion Gerards und Rebecca Grotjahn BIS-Verlag der Carl von Ossietzky Universität Oldenburg Gedruckt mit freundlicher Unterstützung der Mariann Steegmann Founda- tion Zürich sowie des Zentrums für interdisziplinäre Frauen- und Ge- schlechterforschung an der Carl von Ossietzky Universität Oldenburg Oldenburg, 2010 Verlag / Druck / Vertrieb BIS-Verlag der Carl von Ossietzky Universität Oldenburg Postfach 2541 26015 Oldenburg E-Mail: [email protected] Internet: www.bis-verlag.de ISBN 978-3-8142-2196-0 Inhalt Grußwort für Freia Hoffmann zum 65. Geburtstag aus dem Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg 9 Musik und Emanzipation Freia Hoffmann zum 65. Geburtstag 11 Geschlechterpolaritäten in der Musik Birgit Kiupel Die unbekannte Komponistin 20 Andreas Kisters Singt da ein Mann oder eine Frau? Anmerkungen zur Stimme in der mediterranen Volksmusik 23 Kadja Grönke Über das Werk zur Person. Čajkovskijs Romanzen op. 73 33 Fred Ritzel Über die (vielleicht) populärste Melodie einer Komponistin im 20. -
High Performance Building Guidelines
Executive Acknowledgements Honorable Rudolph W. Giuliani Mayor City of New York Luis M. Tormenta, P.E. Commissioner New York City Department of Design and Construction Michael Burton, P.E. Deputy Commissioner New York City Department of Design and Construction Hillary Brown, AIA Assistant Commissioner New York City Department of Design and Construction Fredric Bell, AIA Assistant Commissioner New York City Department of Design and Construction Andrea Woodner Founding Director Design Trust for Public Space Commissioner’s Foreword To the Reader: As we enter the new century, the City of New York is in a unique position to improve the overall quality and performance of public buildings that are constructed and renovated by the Department of Design and Construction (DDC). We can do that by increasing our reliance on energy and environmentally efficient construction technologies and practices, by taking advantage of the strides that have been made over the past few years in the field of ‘green buildings.‘ Key to the success of that effort is our ability to make responsible investments to improve the environment without constraining economic activity. We are now in a position to do that, and, under the leadership of Mayor Rudolph W. Giuliani, are moving ahead to make New York City an environmental prototype for the 21st Century. These Guidelines outline strategies and techniques that can move us toward that goal. They set out a range of ’best practices‘ for planning, designing, constructing and operating healthier, more energy – and resource – efficient facilities. Such high performance buildings can earn long term life cycle savings for New York City, and may also help stimulate the markets for environmentally efficient technologies. -
Designing Sound Pdf, Epub, Ebook
DESIGNING SOUND PDF, EPUB, EBOOK Andy Farnell | 688 pages | 21 Jun 2012 | MIT Press Ltd | 9780262014410 | English | Cambridge, Mass., United States Designing Sound PDF Book So there are different standards. We design graphics and sounds reflecting how we perceive these two distinct sensory worlds. Please help improve it or discuss these issues on the talk page. Field recording is capturing sound from environments outside your studio to bring into your compositions. Lighting design Lighting technician Master electrician. Experiment with mic choices and positioning, signal chains or any other off- the-wall techniques you can think of. Ashanya Indralingam June 18, Algorithm design Behavioural design Boiler design Database design Drug design Electrical system design Experimental design Filter design Geometric design Job design Integrated circuit design Circuit design Physical design Power network design Mechanism design Nuclear weapon design Nucleic acid design Organization design Process design Processor design Protein design Research design Social design Software design Spacecraft design Strategic design Systems design. This allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e. For example, the most computational resources are usually devoted to graphics, which in turn means that the sound playback is often limited to some upper memory consumption as well as CPU use limits. Grokking Algorithms is a friendly take on this core computer science topic. About this Item: Applied Scientific Press, Just use your mouth to make noises or bang on things with your hands. Italian composer Luigi Russolo built mechanical sound-making devices, called " intonarumori ," for futurist theatrical and music performances starting around Book is in Used-Good condition. -
Basics of Sound Design for Video Games Michael Cullen About Me
Basics of Sound Design for Video Games Michael Cullen About Me - BFA in Film Production (Sound Design emphasis), Minor in Music - Worked for Sony, Avid, NBCUniversal (TV show Grimm) - Worked on over 35 short films/docs - nominated for Student Academy Award - Finalist for Cinema Audio Society’s Recognition Award for best sound mixing - Performed / worked in over 80 live theater musicals/shows - Just finished UCI’s Sankofa video game’s first level! Sound Designer Jobs For our purposes, there are two separate jobs that work with sound while making a video game: - Sound Designer - Sound Implementer The creation and implementation of sounds can be handled by both positions but for our purposes it’s easiest to divide the tasks into two separate jobs. Sound Design What is Sound Design? Instead of defining sound design, it’s best to talk about what it can do: - suggest a mood, evoke a feeling - indicate a geographical locale - define a character - mirror or exaggerate how things sound in real life - clarify the narrative Although we may not think about the sounds we hear everyday, we recognize them readily and have preconceptions about how things should sound. Families ● DX = Dialogue - any verbal speech in the game. ● MX = Music - any non-diegetic music. ● SFX = Sound Effects (Hard Effects) - any sound from an real-life object. ● FOL = Foley - any sound effect that the player makes. ● BG = Backgrounds (ambience) - noise from the environment. Generally every video game should have every type of sound family represented. Some sounds could fit into -
Art - Animation (ARTA) 1
Art - Animation (ARTA) 1 ARTA 326 Intermediate Filmmaking3 Credits ART - ANIMATION (ARTA) Continuation of ARTA 224. Exploration of intermediate filmmaking techniques and aesthetics. ARTA 123 Lights! Camera! Action3 Credits Prerequisites: ARTA 223 and ARTA 225. Exploration of fundamental components of animation, digital filmmaking, Terms Typically Offered: Fall. and motion design. Students explore character design, styles of ARTA 327 Sound Design and Post-Production3 Credits animation, digital filmmaking, and motion design while focusing on the Exploration of the relationship between sound and image through post- elements of light, sound, and motion as key time-based design factors. production techniques including Editing, Coloring, and Sound Design. Individual and group projects. Create Foley sound effects for short films, podcasts, and video games. Fees: Yes. Prerequisites: ARTA 322, ARTA 324, ARTA 325, and ARTA 326. ARTA 222 Principles of Digital Photography3 Credits Terms Typically Offered: Spring. Exploration of photographic principles through the use of the digital ARTA 396 Topics:1-3 Credits single lens reflex camera. Course may be taken multiple times up to maximum of 15 credit hours. Fees: Yes. ARTA 421 Advanced Filmmaking3 Credits ARTA 223 Image and Motion3 Credits Advanced studies in digital filmmaking focusing on each student's Introduction to tools, techniques, and practices relating to images and individual creative interests such as experimental filmmaking or the time-based media. Integration of images, typography, digital film, and combination of film with additional media. sound. Prerequisites: ARTA 326. Fees: Yes. Terms Typically Offered: Fall, Spring. ARTA 224 Principles of Film and Motion Design3 Credits ARTA 422 Advanced Photography and Studio Lighting3 Credits Exploration of motion design and time-based visual imagery. -
Towards a New Conceptualization of Sound Design for Games
AmbientSonic Map: Towards a new conceptualization of sound design for games Milena Droumeva Simon Fraser University [email protected] Ron Wakkary Simon Fraser University [email protected] Abstract This paper presents an overview of the main features of sound design for games, and argues for a new conceptualization of it, beginning with a closer look at the role of sound as feedback for gameplay. The paper then proposes and details a new approach for sound feedback in games, which provides ambient, intensity-based sonic display that not only responds to, but also guides the player towards the solution of the game. A pilot study and leading outcomes from it are presented, in the hopes of laying a foundation for future investigations into this type of sonic feedback. Introduction Our soundscape is a vital part of our daily environment, and the act of listening is one of the primary modes of sensory experience in the world. While innovative interface design seeks to emulate the surrounding environment and create a realistic experience for the user, sound most often takes a secondary role to visual presentation. Background music, auditory icons and earcons (representational and abstract short signals, respectively) usually constitute the majority of sound feedback in traditional interfaces. Computer-based games, as a form of highly interactive interface, provide the user with advanced modes of multi-modal interaction. Yet, there is still a preoccupation with visual aspects of game production and development, while far less attention has been given to devising comprehensive and communication-rich systems of game sound. There is growing literature on auditory displays designed for task-oriented, highly computerized environments; virtual audio environments through spatialization; and sonification of information datasets (Walker, 1996). -
SOUNDART SOUND DESIGN for ART and ENTERTAINMENT in the CREATIVE INDUSTRIES First Level Master Course Director: Prof
ART, DESIGN & NEW TECHNOLOGY POLITECNICO ACCADEMIA DI BELLE ARTI DI MILANO DI BRERA SOUNDART SOUND DESIGN FOR ART AND ENTERTAINMENT IN THE CREATIVE INDUSTRIES FIRST LEVEL MASTER COURSE Director: Prof. Roberto Favaro Framing science. The Sound Design for the arts, performances and entertainment Numerous and varied disciplines of art, communication and entertainment are now demanding a new and in-depth relationship with the sound discipline. The visual and plastic arts, architecture, design, the performing arts and the exhibition practices, the new technologies and audiovision art, fashion and fashion design, or rather the practices of entertainment in their whole, show more and more, in fact, the need to interact with the world of sound and to equip their own operators of technical and aesthetic skills appropriate to a conscious creative involvement of the sound material. By definition, the term “Sound Design” means the creation of sound applied to any environment that requires sound. The Sound Design, therefore, as well as a self-sufficient creative scope and an end in itself, it is now also a subject area (set of artistic practice and theoretical studies) very composite that draws people to itself (or orients to) a variety of art and design contexts in which there is the need of the sound component or where the presence of the acoustic sound requires active intervention of manipulation, control, design. The Sound Design, understood as “sound creation” applied to these multiple and diverse contexts of art, entertainment, design, it is now a trans-disciplinary language whom theoretical and practical skills can be acquired and mastered by the various operators in the various fields of activities through a specific training.