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A pre-recorded or simulated sound produced for a radio, television, film or theatrical program in order to suggest an actual sonic environment. The design of such sounds (often abbreviated as SFX), particularly when a complex acoustic environment is to be simulated, involves a thorough understanding of the structure of such a SOUNDSCAPE; that is, what sounds are representative and most significant, as well as which are necessary to create a given AMBIENCE and sense of ACOUSTIC SPACE.
When sounds are conducted separately and independently to each ear via tubes or headphones, the sounds are said to be heard dichotically. In various psychoacoustic experiments, isolation of the function of each ear is desirable, such as in the testing or simulation of BINAURAL HEARING with the PRECEDENCE EFFECT, or in testing preferences for different sounds presented simultaneously to separate ears.
Any process that encourages a person to listen more discriminately, particularly to sounds of the environment. The term was originally used by R.M. Schafer in his book Ear Cleaning (Toronto, BMI Canada, 1967) to contrast with the traditional practice of ear training in music education which concentrates on the identification and reproduction of intervals, chords, melodies and so on.
The control of sound levels to ensure suitable placement between the lowest and highest distortion-free levels of an electroacoustical system.