How Sound Design Works
How Sound Design Works
From Psychoacoustics to Auditory Media and Product Design69,99 €
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- ISBN: 979-8-950184-37-6
- Erscheinungsdatum: 09/2026
- Seitenanzahl: 200
- Farbigkeit: In full colour
- Auflage: 1
- Barrierefreiheit: This work meets the basic accessibility requirements. It is textually and visually accessible. It is hierarchically structured, and all relevant images have alternative text.
- Sprache: Englisch
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Produktsicherheit:
Carl Hanser Verlag GmbH & Co KG
Vilshofener Str. 10
81679 München
E-Mail: info@hanser.de
Sicherheitshinweis entsprechend Art.9 Abs. 7 Satz 2 GPSR entbehrlich
Produktinformationen "How Sound Design Works"
This concise reference book helps readers understand and implement sound design not merely as a technical aspect of production, but as an opportunity for innovative audio design for video. It is grounded in findings from psychoacoustic research: How do people hear, and what role do their personal listening history and individual listening preferences play in this process?
Sound design for moving images is a domain of practitioners in which knowledge is primarily passed down orally. Consequently, there are very few studies in the literature addressing the question of why the audio channel is perceived by audiences as adequate to the visual channel and as effective in its immersive impact.
What fundamental considerations must be taken into account in auditory design? Why do we experience some audiovisual works as more immersive and more poerful in their effect than others?
In a listening test, 240 participants were each played a video through headphones in stereo in one of four versions (two different films, each combined with one of four audio types). The results of this study confirm the practical insight of many professional sound designers: that the sound track, in terms of its immersive effect, constitutes a distinct, highly specialized medium of communication.
Sound design for moving images is a domain of practitioners in which knowledge is primarily passed down orally. Consequently, there are very few studies in the literature addressing the question of why the audio channel is perceived by audiences as adequate to the visual channel and as effective in its immersive impact.
What fundamental considerations must be taken into account in auditory design? Why do we experience some audiovisual works as more immersive and more poerful in their effect than others?
In a listening test, 240 participants were each played a video through headphones in stereo in one of four versions (two different films, each combined with one of four audio types). The results of this study confirm the practical insight of many professional sound designers: that the sound track, in terms of its immersive effect, constitutes a distinct, highly specialized medium of communication.
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Maximilian Kock
Prof. Dr. Maximilian Kock holds a chair in audio production in the Media Production and Media Technology Bachelor and Master programs at the Ostbayerische Technische Hochschule (OTH) Amberg-Weiden in Germany. He also serves as the head of the Department of (Continuing) Education at the Verband Deutscher Tonmeister (VDT, German Association of Audio Professionals).
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