| Carter, P. (2004). Ambiguous traces, mishearing, and auditory space. In V. Erlmann (Ed.), Hearing Cultures: Essays on Sound Listening and Modernity (pp. 43–63). Oxford: Berg. |
 
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| Added by: Mark Grimshaw-Aagaard 20/12/2007, 17:14 |
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| "...making sound recordings involves a poetics of performance reflecting the character and limitations of the technology." |
| Schafer, R. M. (1994). The soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books. |
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| Last edited by: Mark Grimshaw-Aagaard 14/02/2014, 16:44 |
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| The ability to remove sounds from their original context (via telephony or recording) is called schizophonia by Schafer. |
| Shilling, R., & Krebs, E. 2002, Videogame and entertainment industry standard sound design techniques and architectures for use in videogames, virtual environments and training. Naval Postgraduate School. |
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| Added by: Mark Grimshaw-Aagaard 02/02/2009, 08:34 |
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| Notes that it is difficult to record the exact sound of a weapon (such as the M16 rifle): neither microphones nore reproduction systems can handle the dynamic range. Additionally, attempting to use as accurate as possible weapon recordings produced complaints from listeners that the sounds were 'unrealistic'. |
| Shilling, R., Zyda, M., & Wardynski, E. C. 2002, November 30, Introducing emotion into military simulation and videogame design: America’s Army: Operations and VIRTE. Paper presented at GameOn, London. |
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| Last edited by: Mark Grimshaw-Aagaard 19/12/2010, 06:19 |
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"A flat recording is not only emotionally flat; it also sounds unrealistic
(Yewdall, 1999). Instead, flat recordings [in AA:O] were mixed with other explosive sounds to compensate for the weaknesses of the reproduction media."
Yewdall, D. (1999). Practical Art of Motion Picture Sound. Boston, MA: Focal Press. |
