What is it about?

In this paper we will look at whether next-generation mixers are less reliant on orthodox audio principles and more on their IT skills; and propose a new framework for sound designers wanting to express their creative sound concepts.

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Why is it important?

Television sound's place in the digital audio jigsaw has accelerated product development and the take-up of affordable audio technology by contemporary sound practitioners. As a consequence, established, mature digital recording and production methods are being replaced by modern techniques, tools and protocols – along with a questionable assumption in some quarters of moving picture production, that irrespective of budget, experience or technical training, anyone can now create an acceptable soundtrack for film or television.

Perspectives

Over recent times, the division between the way a feature film audio post-production specialist and a television audio post-production specialist operates has moved to a point where there are now very clear areas of overlap; and the widespread use of relatively inexpensive, yet highly capable, digital sound editing and mixing equipment has brought these previously separate sound-for-picture sectors closer than ever. But they are still not entirely similar in every respect; and the quality issues of television soundtracks received by home audiences remains a thorny issue for broadcasters faced with an often disparate audio supply chain.

Dr. Neil Hillman
University of York

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This page is a summary of: Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production, The New Soundtrack, March 2016, Edinburgh University Press,
DOI: 10.3366/sound.2016.0084.
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