Sound Affects: A User's Guide is a collection of sonically-charged concepts ranging from those felt, 'heard' and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound. Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, from the audibly near to sounds beyond the limits of audibility. Sound Affects is an intellectual adventure for those who theorize and listen. The book can also be enjoyed as a narrative of sounds, its absences and its shifting intensities.

Bursting with new features, Apple's iMovie '09 is vastly more usable and complete than iMovie '08 -- amazing right out of the box. But the box doesn't include a good user's guide, so learning these applications is another matter. iMovie '09 and iDVD: The Missing Manual gets you up to speed on everything you need to turn raw digital footage into highly creative video projects. You get crystal-clear, jargon-free explanations of iMovie's new video effects, slow & fast motion, advanced drag & drop, video stabilization, and more. Author and New York Times tech columnist David Pogue uses an objective lens to scrutinize every step of process, including how to: Organize your videos just like your photos, and precisely edit with ease Work on multiple iMovie projects at once and drag & drop clips among them Integrate with other iLife programs to use songs, photos, and an original sound track Output your creation to a blog, its own web page, or as a video podcast with iWeb Understand basic film techniques to improve the quality of the video you bring to iMovie From choosing and using a digital camcorder to burning the finished work onto DVDs, posting it online, or creating versions for iPod and iPhone, iMovie '09 & iDVD: The Missing Manual helps you zoom right in on the details.

This work, first published in 1989, includes discussions of the history of sound effects, the different types of sound effects, creating sound effects from scratch, recording sounds in the studio and field, the advantages of live sounds over tape, knowing why and when to use sound effects, the difference between radio, TV and film sounds, Foleying and the Foley stage, and recording and editing equipment.

For decades performers, instrumentalists, composers, technicians and sound engineers continue to manipulate sound material. They are trying with more or less success to create, to innovate, improve, enhance, restore or modify the musical message. The sound of distorted guitar of Jimi Hendrix, Pierre Henry’s concrete music, Pink Flyod’s rock psychedelic, Kraftwerk ‘s electronic music, Daft Punk and rap T-Pain, have let emerge many effects: reverb, compression, distortion, auto-tune, filter, chorus, phasing, etc. The aim of this book is to introduce and explain these effects and sound treatments by addressing their theoretical and practical aspects.

With the continuous development of social economy and the improvement of computer science, communication engineering and electronic engineering, automo-biles are also gradually transforming from mechanical products driven by internal combustion engines to intelligent products driven by electricity. The electrification and intelligence of automobiles have brought new problems to society: on the one hand, electrically driven vehicles have lower operating noise, which makes pedestri-ans’ perception of vehicles weakened; on the other hand, with the deepening of intel-ligence, the control of vehicles will gradually be yielded from drivers to vehicles, which will largely cause the lack of human-vehicle trust. If these two problems are not solved, they will largely affect the efficiency of future road traffic and even bring potential danger. Therefore, it is necessary to explore a vehicle external sound effect as the external interaction interface of future vehicles to improve human-vehicle per-ception and enhance human-vehicle mutual trust. This paper takes the external sound design of quiet vehicles as the starting point, and divides the external sound design of vehicles into two aspects: quality design and functional design through literature research and combing of sound design related theories and methods. In the research of quality sense design, the paper explores the sound quality categories suitable for quiet vehicles based on human perception of sound quality, and realizes the decomposition of quality sense design elements through psychoacoustic experiments, and constructs the relevant design models, which provides theoretical guidance for the design of quality sense of exterior sound effects of quiet vehicles. In the functional design research, this paper conducted an in-depth investigation and study of human-vehicle conflict based on China’s road en-vironment and traffic participants, extracted a total of four categories and six types of human-vehicle interaction needs, and accordingly designed, optimized and verified the interaction information, and explored the design strategy of functional sound ef-fects.

To today's radio listener, it is difficult to imagine the influence radio once held over the American people. Unlike movies or newspapers, radio both informed and entertained its audience without requiring them to participate. Part of its success depended upon the people who created the sound effects--a squeaking door, the approach of a horse, or a typewriter. The author did live sound effects during the "Golden Age" of radio. He provides many insights into the early days of the medium as it grappled with entertaining an audience based on a single sense (hearing). How the sounds were produced is fully covered as are the artists responsible for their production. Stories of successful effects production are balanced by embarrassing or funny failures. A list of artists and their shows is included.

Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with the emergence of the modern scenic sound effect in the late 18th century, and ending with headphone theatre which brings theatre's auditorium into an intimate relationship with the audience's internal sonic space, the book relates contemporary questions of theatre sound design to a 250-year Western cultural history of hearing. It argues that while theatron was an instrument for seeing and theorizing, first a collective hearing, or audience is convened. Theatre begins with people entering an acoustemological apparatus that produces a way of hearing and of knowing. Once, this was a giant marble ear on a hillside, turned up to a cosmos whose inaudible music accounted for all. In modern times, theatre's auditorium, or instrument for hearing, has turned inwards on the people and their collective conversance in the sonic memes, tropes, clichés and picturesques that constitute a popular, fictional ontology. This is a study about drama, entertainment, modernity and the theatre of audibility. It addresses the cultural frames of resonance that inform our understanding of SOUND as the rubric of the world we experience through our ears. Ross Brown reveals how mythologies, pop-culture, art, commerce and audio, have shaped the audible world as a form of theatre. Garrick, De Loutherbourg, Brecht, Dracula, Jekyll, Hyde, Spike Milligan, John Lennon, James Bond, Scooby-Do and Edison make cameo appearances as Brown weaves together a history of modern hearing, with an argument that sound is a story, audibility has a dramaturgy, hearing is scenographic, and the auditoria of drama serve modern life as the organon, or definitive frame of reference, on the sonic world.

From the interesting and intriguing to the weird and wonderful Odd Jobs: Sound Effects Artist is HIGH interest combined with a LOW level of complexity to help struggling readers along. The carefully written, considerate text will hold readers’ interest and allow for successful mastery, understanding, and enjoyment of reading about Sound Effects Artists. Clear, full-color photographs with captions provide additional accessible information. A table of contents, glossary with simplified pronunciations, and index all enhance achievement and comprehension.