TABLE OF CONTENTS ACKNOWLEDGMENTS ....-.- .. cece FOREWORD x PREFACE .. ai ‘THE CREATION OF A SOUND DESIGNER wii INTRODUCTION xix HOW TO USE THIS BOOK .... = NOTATIONAL SYSTEMS SOUND ENERGY TRANSFORMATION 1 ‘THE FIRST SCRIPT 2 WHAT TO LISTEN FOR sosseaeee 2 Objects, actions, environments, emotions, and transitions... 2 Explicie sounds. eseneenesee sone 3 Environments 5 Clues to the emotions... oe ceccesesenennenenenee 6 Physical or dramatic transition .. 9 GROUPING THE VOICES 10 DRAWING VISUAL MAPS cece secentnenenneenee 2 MEETING WITH THE DIRECTOR .. . 15 ‘THE SOUND MAP — DRAFT 1 18 CONSULTING BEFORE AND DURING THE SHOOT 2B ACCOMPANYING THE PICTURE EDIT. 25 ANALYZING THE FINAL PICTURE EDIT .. 26 THE SOUND MAP —DRAFT2 31 DEFINING VOICE SOURCES AND MODIFICATIONS . 32 DEFINING SOUND EFFECTS AND AMBIENCE SOURCE: 35 COORDINATING WITH THE MUSIC SCORE .. 4B EXPERIMENTATION AND OPEN OPTION: 45 EXHIBITION CONSIDERATIONS .. 46 THE SOUND MAP — DRABT3 sssscnsnansneneneusntnteianananeise 40 PRE-MIX DECISIONS 50 ‘THE FINAL MIX AND PRINT MASTER 52 CHAPTER 2 EXPANDING CREATIVITY .. 33 TAPPING INTO THE DREAMSCAPE «sess IMAGINATION TOOLSSOUND DESIGN / Sonnensebein INVENTING ORIGINAL SOUNDS Cartoon and foley Musique conertte 58 Recording techniques 0 Sound shaping. Emotional impact CHAPTER 3 FROM VIBRATION TO SI 6 THE SOURCE we escseeeee .. cece 68 ‘THE MEDIUM .. os oF SOUND QUALITIES 65 Rbytbm Intensity 66 Pitch or Timbre o Shape 68 Organisation swsvseore 70 PHYSICAL FFFEGTS OF SOU 10 THE EAR sence ese ese a Hearing development. Outer ear (pinmarear canal) Middle ear (ear drusnlossicles) Inner ear (exten) Sensitivity Masking oo - CHAPTER 4 FROM SE! LISTENING MODES Reduced Causal cece cece cece TB Semantic vusesseseereneeren sents 78 Referential 78 Less is More suessseneesese sence 79 GESTALT PRINCIPLES AND ILLUSION .. 7 Figure and ground o.ccscrseieeseneeneen 80 Completeness, good continuation, and closure . a1 Proximity and similarity . 81 Common fare und belongingness Wusion ssoersre - viSPACE - 7 83 Size, distance, and perspective vewsencenerssinrnrearnensenrneenerne 8F Echo and reverberation 85 Directionatity 8s Subjectivelenotional space. seneenenees 86 Movement . 7 TIME .. - 89 Temporal resolution and integration 89 Speed erresnesn . 89 Subjective time eee ceecteeeeesnees OD TONE, ao Recognition 93 Habituation and hearing loss 94 Tonal center. 95 Out-of-tune und beat phenomena .. 96 Historical perspective. 96 ENTRAINMENT . 97 CHAPTER § MUSIC TO OUR EARS 101 ORIGINS OF MUSIC 102 FEELINGS VS. ORDER... - 103 EMOTIONAL SIGNIFIER... 104 Openness 10+ Insight. 105 Groups 106 Emotional inventory 107 GENRES... . 109 STRUCTURE AND FUNCTION 110 World music sess svuseusenceneesesnsunsnarnsensensensenennerneenee LIL Feminine form eevee sevceeeeeeeeees UB Violating form 1B THE CASE OF THE SONATA ... lg RHYTHM AND ANTICIPATION - - 1S Rhythm of the body sseseesesseusenernesinesmennensene 115 Meter and phrasing 116 Repetitiveness ev.ee 116 Perception of rhythm 116 Anticipation. lr viiSOUND DE: GN / Sonnenschein MELODY 7 cece cece ne HARMONY AND DISSONANCE «1. ‘TONAL CENTER SILENCE CONTRAST, CHAPTER 6 ‘THE HUMAN VOIC ‘THE VOCAL INSTRUMENT DEVELOPMENT OF SPEECH SPEECH RECOGNITION AND VERBAL UNDERSTANDING MEANING VS. FEELING. PROSODY — VOCAL MELODY AND EMOTION MANTRAS, NONSENSE, AND BEYOND VOICE PERSONALITIBS 2c cecceneneentnee - ALIEN LANGUAGE CHAPTER 7 SOUND AND IMAGE 000.00 cece EYBS AND EARS sessesseseseenen ON SCREEN, OFF SCREEN, AND OUTSIDE, THE STORY WORLD... On soreen Of wren Nondicgetic MUSIC IN FILM .. Emotional signifier . Continuity . Narrative cueing... Narrative unity Programmatic music Anempativetic music. DIALOGUE IN FILM... cece - - Theatrical speech Textual speceb eorser Emanation speech Elimination. Ad libs and proliferation Madtilingualism and forcign language .. Dialogue recording and postproduction SPATIAL DIMENSIONS 3-D space Hifi vs. low-fi perspective . SizePoint of audition . . . . 163 Sensation and texture sven 164 TEMPORAL DIMENSIONS 164 Rhye Of life vovscrsessesesn 16+ Linearity ssseseee sence con 164 Narrative Wenge cen cece ceeeenee nnn BRIDGING AND BREAKS «sss 165 SYNCHRONIZATION .. 166 Point of synchronisation sence 167 ADDED VALUE AND MULTIPLE MEANINGS 168 CHAPTER 8 SOUND AND NARRATIV 173 NARRATIVE ANALYSIS ne . ~ U3 MUSIC AND STORY 175 CHARACTER IDENTIFICATION 176 Objective audience perspective .. 177 Subjective character experiewee« 177 Nontliteral sound 178 Emotional associations 179 PRIMARY AND SECONDARY EMOTION 181 ENVIRONMENTS AND THE “SOUNDSC 182 INVENTING SOUND OBJE! 190 Trp ooo . 190 Firearms . 191 Vebicles - 192 Fire.. 193 More ideas and tecbniques . 193 AUDITORY HIERARCHY -.ccccccccseseetecteeeneintnsnntnenieenees 105 DRAMATIC EVOLUTION sess 198. Earrthqualee effect. . 200 PRODUCTION DESIGN AND IMAGE ANALYSIS sasssssscssesnsesnseee 201 PERFORMAN' - 203 SOUND REFERENCES. 205 Universal 205 re . . .. eevee 206 Historical oesoe 209 Film specific 210 PLEASANTVILLE — CASE STUDY INTEGRATING STORY AND MUSIC... 212CHAPTER 9 THE FUTURE OF SOUND DESIGN . 215 A WORD ON SOUND POLITICS — WHEN CAN WE START? ssssees 215 INTERNET AND INTERACTIVE MEDIA .. 17 APPENDIX ..sssessessee as ne . 219 CLASSIFICATION OF SOUNDS 219 FILMOGRAPHY ... 225 BIBLIOGRAPHY..... ses 227 INDEX... 233 DAVID SONNENSCHEIN ... 245