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.

A wide-ranging collection of essays combining sound studies with affect studies, from an international and interdisciplinary cast of scholars.

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.

* Digital Audio Effects (DAFX) covers the use of digital signal processing and its applications to sounds * Discusses digital audio effects from both an introductory level, for musicians, and an advanced level, for signal processing engineers * Explains what can be done in the digital processing of sounds in the form of computer algorithms and sound examples resulting from these transformations * Brings together essential DSP algorithms for sound processing, providing an excellent introduction to the topic

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.

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.

This book explores digital audio effects relevant to audio signal processing and music informatics. It supplies fundamental background information on digital signal processing, focusing on audio-specific aspects. The text integrates theory and practice, relating technical implementation to musical implications. It can be used to gain an understanding of the operation of existing audio effects or to create new ones. In addition to delivering detailed coverage of audio effects, the book discusses digital audio standards. Accompanying source code is provided in C/C++ and implemented as audio effect plug-ins.

This book takes the reader on a sensory ethnographic tour in Japan and describes the many ways sounds seep into everyday experiences. So many ethnographies describe local worlds with a deep attention to what is seen and what people say, but with a limited understanding of the broader sonic environments that enrich and inform everyday life. Through a focus on sounds, both real and imagined, the volume employs a critical ear to engage with a range of sonically enriched encounters, including crosswalk melodies in streetscapes, announcements and jingles at train stations, water features in gardens, dosimeters in nuclear affected zones, sounds of training in music and martial arts halls and celebrations under blossoming cherry trees. The authors use various analytic frames to understand the communicative and symbolic aspects of sounds and to sense the layers of historical meaning, embodied action and affect associated with sonic environments.

Sound and Music in Film and Visual Media: A Critical Overview is a comprehensive work defining and encapsulating concepts, issues and applications in and around the use of sound in film and the cinema, media/broadcast and new media. Over thirty definitive full-length essays, which are linked by highlighted text and reference material, bring together original research by many of the world's top scholars in this emerging field. Complete with an extensive bibliography, Sound and Music in Film and Visual Media provides the most comprehensive and wide-ranging consideration of this subject yet produced.

The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music,sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening.Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations andRelocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as onthe role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered andreinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personalstereos, video games and Virtual Reality.