Absorption, 103–105. See also Reverberation
ADSR. See Envelope
Aliasing, 61–62
Ambisonics. See Object-based audio
Anamnesis, 178–179
Anthropomorphism, 203
ASMR, 89
Asset lists, 214–215
Atmos. See Ambience
Auto-Tune. See Pitch shifting
Bit depth, 62–63
Bit rate, 64
Bone conduction, 17–20
Boom poles, 76
Cables, 78–79
Cage, John, 1
Chion, Michel, 31–32
Clipping, 45–46, 84, 132–133. See also Distortion
Cocktail party effect, 25
Compression, 142–145, 147, 153
Conditioning, 175–177
Cone of confusion, 161–162
Consonance and dissonance, 43–44
Cue sheets, 212–214
Cutting, Adele, 2
DAW, digital audio workstation, 6, 147, 160
dbFS, 144–145
Decibels. See Amplitude
Delay, 108–112
Diffraction. See Propagation
Diffusion, 103–105. See also Reverberation
Distortion, 132–133. See also Clipping
Dolby, 166–173
Doppler effect, 93–95
Ducking, 146–147
Dynamic range, 62–63, 137, 140–146, 204, 209
Ear, anatomy, 17–24
Echo. See Delay
Embodied cognition, 183, 185–186
Envelope, 52–54
Equalization, 122–126, 138, 140, 150, 154, 167
Exit-sign effect, 168
Expansion, expanders, 146
Fades, fading, 59–60, 68, 151, 212–213
Feedback, 82–83, 206. See also Distortion
Filters, 49, 126–130, 134, 135, 140, 143–144, 154
Flanger, flanging. See Phaser
Fletcher-Munson curves, 26–27
Fuzz. See Distortion
Gain, 84, 88, 107, 109, 139–140, 144
Games. See Video games, sound design in
Gating, gates, 146
Gershin, Scott, 152
Gestalt psychology, 202
Harmonics, 5, 46–49, 70, 81, 131–133
Headphones, 7, 17, 18, 25, 30–31, 51, 83, 138, 153, 156, 163, 165, 170
in-head localization, 165–166
purchasing guide, 30–31
Herrmann, Bernard, 178–179
Hertz. See Frequency
HRTFs. See Localization
Intersensory integration, 183, 185–190
Leitmotifs, 198
LFO, low frequency oscillator, 113, 126
Limiting. See Compression
Localization, 159–163
Lossless, lossy, 63–64
LUFs, 144–145
Mangini, Mark, 175
McCree, Nathan, 141
McGurk effect, 186
Microphones
polar patterns, 70–73
Mixing, 137–158
Mnemonics, 194–195
Mono and stereo, 68–69
Mood boards, 204
MP3, 63–64
Murch, Walter, 3, 114, 116, 117, 118, 157, 198, 199, 202, 218
Musique concrète, 31, 182, 183
Noise reduction, 147–148
Normalization. See Compression
Nyquist principle, 62
Object-based audio, 168–170
Occlusion. See Propagation
O’Donnell, Marty, 203
Oliveros, Pauline, 32
Overdrive. See Distortion
Panning, 138, 150–152, 154, 160, 165, 166, 198
Parnell, Rebecca, 194
Partials. See Harmonics
Peaking. See Clipping
Phantom frequencies, 48–50, 127, 202
Phantom imaging, 152
Phonosemantics, 186
Pitch shifting, 121–122
Plot spectrum, 38–41. See also Spectrograms
Point of audition, 154–156
Pop filter, 77–78
Portable recorder. See Recorder
Preamps, 77
Prototyping, 91
Proximity effect, 81–82
Pulse code modulation, 60, 62, 63
Radio drama, 193–216
Recorder, 8, 9, 68, 69, 71, 77, 79, 86
Research, 207–208
Resonance, 102–103
Rewards (sonic), 206
Ring modulation, 130–132
Room tone, 105
Sample rate, 61–62
Schaeffer, Pierre, 54
Schafer, R. Murray, 16, 32, 38, 91, 189
Schütze, Stephan, 56, 172–173, 199–200
Semiotics, 177, 179–183, 190–191, 201–203
Shock mounts, 76–77
Sidechaining, 147
Signal to noise. See Masking
Slate, slating, 67–68, 73, 214
Sound design, definition and history of term, 3, 4
Sound libraries, 55–58, 68, 214
Sound poems, 91–92. See also Onomatopoeia
Soundscape, 32, 58, 141, 142, 154, 156, 178, 183, 190
Spatial audio, 159–174
Spectrograms, 38–41
Spotting (a script), 209–215
Standing waves, 99–102
Stereo microphones, 71–72, 78, 84
Stereo recording, 84–87. See also Mono and stereo
Stereotypes (sonic), 177–178
Surround sound, 159–174
Sweet spot, 150
Threshold of hearing, 18, 24–25, 37, 62
Timbre, 46–47
Time-stretching, 114
Tremolo, 119–120
Ventriloquist effect, 186
Vibrato, 120–121
Video games, sound design in, 2, 3, 28, 91, 115–116, 141, 153–154, 163, 172–173, 174, 176, 187–188, 194, 199–200, 201, 203–204, 207–208
Wah-wah, 124–126
Wave interference, 50–52
Wheel of emotions, 204–205
Wiswell, Nick, 115–116, 187–188, 201–202
Worldizing, 114–116