Sound Design for Virtual Spaces

Sound design: an applied, experimental framework to study the perception of everyday sounds

The New Soundtrack ◽

10.3366/sound.2014.0057 ◽

2014 ◽

Vol 4 (2) ◽

pp. 103-121 ◽

Cited By ~ 10

Author(s):

Patrick Susini ◽

Olivier Houix ◽

Nicolas Misdariis

Keyword(s):

Sound Design

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Game Sound

Journal of Sound and Music in Games ◽

10.1525/jsmg.2020.1.1.100 ◽

2020 ◽

Vol 1 (1) ◽

pp. 100-102

Author(s):

Karen Collins

Keyword(s):

Video Game ◽

Theory And Practice ◽

Sound Design ◽

Video Game Music

Karen Collins reflects on her seminal volume Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, a little over a decade after its publication.

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Psychedelic Illusions

10.1093/oso/9780190671181.003.0004 ◽

2018 ◽

Author(s):

Jonathan Weinel

Keyword(s):

Rock Music ◽

Outer Space ◽

Altered States ◽

Sound Design ◽

States Of Consciousness ◽

Production Techniques ◽

1960S And 1970S ◽

Rock N Roll ◽

The 1960S ◽

Conceptual Meaning

This chapter explores how music technologies and electronic studio processes relate to altered states of consciousness in popular music. First, an overview of audio technologies such as multi-tracking, echo, and reverb is given, in order to explore their illusory capabilities. In the rock ’n’ roll music of the 1950s, studio production techniques such as distortion provided a means through which to enhance the energetic and emotive properties of the music. Later, in surf rock, effects such as echo and reverb allowed the music to evoke conceptual visions of teenage surf culture. In the 1960s and 1970s, these approaches were developed in psychedelic rock music, and space rock/space jazz. Here, warped sounds and effects allowed the music to elicit impressions of psychedelic experiences, outer space voyages, and Afrofuturist mythologies. By exploring these areas, this chapter shows how sound design can communicate various forms of conceptual meaning, including the psychedelic experience.

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