Relevant bibliographies by topics / Sound design

Academic literature on the topic 'Sound design'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sound design.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Sound design"

1

Zhang, Lu. "Design of Heart Sound Analyzer." Advanced Materials Research 1042 (October 2014): 131–34. http://dx.doi.org/10.4028/www.scientific.net/amr.1042.131.

Full text
Abstract:
There is important physiological and pathological information in heart sound, so the patients’ information can be obtained by detection of their heart sounds. In the hardware of the system, the heart sound sensor HKY06B is used to acquire the heart sound signal, and the DSP chip TMS320VC5416 is used to process the heart sound. De-noising based on wavelet and HHT and other technical are used in the process of heart sound. There are five steps in the system: acquisition, de-noising, segmentation, feature extraction, and finally, heart sounds are classified
APA, Harvard, Vancouver, ISO, and other styles
2

Schafer, Mark E. "Sound advice—Sound design." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A102. http://dx.doi.org/10.1121/10.0018307.

Full text
Abstract:
Ultrasound energy offers unique capabilities to treat a wide range of medical conditions, through numerous distinct physical interactions with tissue. Unlike diagnostic ultrasound, where safety and efficacy are easily demonstrated and the underlying technology has been available for decades, therapeutic ultrasound applications have explored new regimes and therefore required novel technologies and approaches. This presentation will describe the journey from discovery to clinic, based on examples from the author’s personal experience as a consultant and entrepreneur. Developing therapeutic ultrasound products involves several specific and sometimes unique steps. It generally starts with the observation of a therapeutic effect, or a realization that an existing approach could be applied to a different clinical situation. Moving from “N = 1” to a repeatable treatment paradigm can be both exciting and discouraging. The next key steps, which are the hardest, involve translating the initial idea/data/concept into a commercial design, or at least a plan for one. The regulatory, financial, commercial, and clinical environments can be as challenging as the purely technical hurdles, and all factor into the development process. While creating new clinical ultrasound treatments and devices can be difficult and time consuming, it can also be immensely rewarding and satisfying.
APA, Harvard, Vancouver, ISO, and other styles
3

KUNO, Kazuhiro. "Design of sound. (II). Familiar sounds." Journal of Environmental Conservation Engineering 25, no. 5 (1996): 306–11. http://dx.doi.org/10.5956/jriet.25.306.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Chen, Timmy Chih-Ting. "Sound design." Journal of Chinese Cinemas 10, no. 1 (January 2, 2016): 34–37. http://dx.doi.org/10.1080/17508061.2016.1142729.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rina, Fadmi, Anis Susila Abadi, and Sholeh Huda. "Serious Game Design Of Sound Identification For Deaf Children Using The User Centered Design." Telematika 19, no. 3 (October 31, 2022): 397. http://dx.doi.org/10.31315/telematika.v19i3.7979.

Full text
Abstract:
The loss of hearing function in deaf children causes deaf children to experience obstacles in listening to the sound of objects or sounds of language as children generally hear. Therefore, it is necessary to optimize the hearing function of deaf children. The Development of Sound and Rhythm Perception Communication (PKPBI) is a special program to practice understanding sound so that the remaining hearing of deaf children can be maximized. So far, the PKPBI learning media at the sound identification stage used by the Karnna Manohara Yogyakarta Special School teacher is the keyboard. However, the keyboard has weaknesses such as the collection of sounds on the keyboard is very limited. Another problem is the Covid 19 pandemic, PKPBI learning is less than optimal due to limited face-to-face meetings. The purpose of this research is to design a serious game as a learning medium for sound identification for deaf children that can be used in the classroom and at home. The method used to design serious sound identification games is User Centered Design (UCD). Based on the research results, the design of this serious game can be developed into a serious game application to practice sound identification in deaf children.
APA, Harvard, Vancouver, ISO, and other styles
6

Pauletto, Sandra. "The sound design of cinematic voices." New Soundtrack 2, no. 2 (September 2012): 127–42. http://dx.doi.org/10.3366/sound.2012.0034.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hillman, Neil. "Organic and free range sound design." New Soundtrack 4, no. 2 (September 2014): 123–38. http://dx.doi.org/10.3366/sound.2014.0058.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Long, Marshall. "Sound System Design." Acoustics Today 4, no. 1 (2008): 23. http://dx.doi.org/10.1121/1.2961163.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Stocker, Michael. "Exhibit sound design." Museum International 47, no. 1 (March 1995): 25–28. http://dx.doi.org/10.1111/j.1468-0033.1995.tb01219.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Delle Monache, Stefano, Davide Rocchesso, Frédéric Bevilacqua, Guillaume Lemaitre, Stefano Baldan, and Andrea Cera. "Embodied sound design." International Journal of Human-Computer Studies 118 (October 2018): 47–59. http://dx.doi.org/10.1016/j.ijhcs.2018.05.007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Sound design"

1

Zetterblom, Margareta. "Textile Sound Design." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3588.

Full text
Abstract:
The thesis aims at developing conceptual and methodological tools in order to adapt sound in a “designerly” way within the discipline textile design. Occupational groups working with sound are to a large extent problem driven. This implies knowledge regarding sound and sound design mostly focuses on defensive strategies, not creative possibilities. The ambition with this research project is to make suggestions how textile designers can work practically with textile sound design, in a more nuanced way. /br As a starting point the thesis describes commonly used methods and processes used in the design process within an industrial context, followed by a more thorough analyze of the textile design process. These studies constitute a foundation to make it possible to see in what way these methods and processes will be affected when sound is added as new design tool./br By studies of two sound design models, the first attempts to develop a vocabulary concerning how to describe sound affecting qualities or sound expression of a textile are presented. Research focusing on language issues, especially on the development of conceptual tools done at the research institute Cresson, provides descriptive concepts, “sound effects”, embracing the interaction between human and his sound environment. These concepts are followed by a model of how to describe a “sound object” in “itself” (not in relation to anything else), developed by Pierre Schaeffer./br The theoretical models have been applied on the outcome of an phenomenological study named Describe. A number of design examples are finally presented as methodological examples of different ways to work with textiles and sound./br Keywords: sound, design, textile design, sound effect, sound object.
Thesis to be defended in public at 24 May 2011 at 13.00, at the Gallary floor 2, The Swedish School of Textiles, Bryggaregatan 17, Borås, for the degree of Philosophy.
APA, Harvard, Vancouver, ISO, and other styles
2

Zetterblom, Margareta. "Textile sound design." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3486.

Full text
Abstract:
This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.
APA, Harvard, Vancouver, ISO, and other styles
3

Wennebjörk, Turdell Johan. "Sound Fence." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-92054.

Full text
Abstract:
To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! ! By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior. The main characteristic is the flocking behavior which the final result is based on. ! By stressing a sheep with a sound as it is on its way out of the given area the sheep will, cos of flocking behavior, stop and move back to the other sheep.
APA, Harvard, Vancouver, ISO, and other styles
4

Stevenson, Ian Robert. "The sound effect: a study in radical sound design." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13368.

Full text
Abstract:
This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. The design follows an iterative cycle of research and creative practice that integrates theory, practice and empirical approaches. The research makes an initial contribution to the field of sound studies by re-appraising the work of pioneers in the field—Pierre Schaeffer and R. Murray Schafer—in light of the concept of the sonic effect. This concept is developed as an effective tool for both sound studies and sound design. This theoretical work attempts to critically and creatively examine the ontology or mode of existence of sonic phenomena and is informed by the post-structural theory of the effect. The theory of the sonic effect is empirically investigated by examining verbal accounts of listening experience elicited by semi-structured interview. Finally, having deconstructed sonic phenomena in terms of their potential to be actualised in diverse contexts, sonic effects are interrogated as a creative strategy in the field of sound design for performance and installed sonic art. Two projects are documented. One is a hybrid live performance installation utilising a novel software design for sound composition and projection. The other is a sound installation work demonstrating a novel loudspeaker design for the creation of very dense sound fields. In this context, design occurs as an effect at the intersection of new technologies of sound production and the production of audible sense. This approach enacts a radical pragmatism that underlies the radical sound design strategy outlined in the thesis.
APA, Harvard, Vancouver, ISO, and other styles
5

Klimas, Matthew L. "Argent Sound Recordings: Multimodal Storytelling." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.

Full text
Abstract:
ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet – providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.
APA, Harvard, Vancouver, ISO, and other styles
6

Nykänen, Arne. "Methods for product sound design." Doctoral thesis, Luleå tekniska universitet, Drift, underhåll och akustik, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26577.

Full text
Abstract:
Product sound design has received much attention in recent years. This has created a need to develop and validate tools for developing product sound specifications. Elicitation of verbal attributes, identification of salient perceptual dimensions, modelling of perceptual dimensions as functions of psychoacoustic metrics and reliable auralisations are tools described in this thesis. Psychoacoustic metrics like loudness, sharpness and roughness, and combinations of such metrics into more sophisticated models like annoyance, pleasantness and powerfulness are commonly used for analysis and prediction of product sound quality. However, problems arise when sounds from several sources are analysed. The reason for this complication is assumed to be the human ability to separate sounds from different sources and consciously or unconsciously focus on some of them. The objective of this thesis was to develop and validate methods for product sound design applicable for sounds composed of several sources. The thesis is based on five papers. First, two case studies where psychoacoustic models were used to specify sound quality of saxophones and power windows in motor cars. Similar procedures were applied in these two studies which consisted of elicitation of verbal attributes, identification of most salient perceptual dimensions and modelling of perceptual dimensions as functions of psychoacoustic metrics. In the saxophone experiment, psychoacoustic models for prediction of prominent perceptual qualities were developed and validated. The power window experiment showed that subjects may judge only parts of the sound. Power window sound consists of the motor sound and the scratching of a window sliding over the seal. The motor sound was filtered out and models developed using motor sound alone showed good agreement with listening tests. This demonstrated the human ability to separate sound from different sources and pointed out the importance of handling auditory stream segregation in the product sound design process. In Paper III sound sketches (simple auralisations) was evaluated as a way to assess sounds composed of several sources. Auralisation allows control of the contributions of different sources to a sound at the listening position. This way, psychoacoustic analysis and listening tests may be carried out on the contributions from sources separately and as an ensemble. Sound sketches may also serve to specify a target sound for a product. In Papers IV and V, the precision of auralisations related to intended use was investigated. Auralisations were made by filtering engine sounds through binaural transfer functions from source locations to the listening position in a truck cabin. In Paper IV simplifications of auralisations of one source were compared to artificial head recordings. For idling sounds auralisations through binaural transfer functions with a resolution of 4 Hz or better, or smoothed with maximum 1/96 octave moving average filters were found to preserve perceived similarity to artificial head recordings. In Paper V the effect of simplifications of transfer functions on preference ratings of auralisations was examined. This is of interest in applications where audible differences may be acceptable as long as preference ratings are unaltered, e.g. when auralisations are used as rough sound sketches. At 500 rpm idle speed, a resolution of 32 Hz or better, or smoothing with maximum 1/24 octave moving average filters showed no significant alteration of subject preference ratings. These figures may serve as guide for required accuracy in auralisations used for evaluation of idling sounds in truck cabins. To conclude, psychoacoustic analysis of total sound may be used for prediction of perceived sound quality as long as the sound is generated by one source. When several sources generate sound, auditory stream segregation effects in combination with cognitive effects may deteriorate the results. Auralisation is a useful tool in such cases, since it makes it possible to analyse the effects of contributions from each source. It can also be used for making sound sketches which can serve as support in the design process.
Godkänd; 2008; 20080925 (ysko)
APA, Harvard, Vancouver, ISO, and other styles
7

Novais, Ana Maria Teixeira Duarte de Sousa. "Play sound system." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/12449.

Full text
Abstract:
Dissertação apresentada na Universidade de Lisboa - Faculdade de Arquitetura, para obtenção do grau de Mestre em Design de Produto.
A consciência da importância de espaços públicos dedicados a crianças no seu desenvolvimento integral, tem vindo a crescer desde os finais do século XIX. Esta importância aumenta quando nos deparamos com algumas transformações na nossa sociedade como a redução do tamanho das famílias e a diminuição dos espaços domésticos para brincar, entre outras. Paralelamente, há um crescimento do mercado de brinquedos e equipamentos lúdico-pedagógicos de teor científico. Assim, na presente dissertação, pretende-se projectar um sistema de equipamentos urbanos lúdicos para o público infantil que englobe música e os benefícios desta, com o objectivo de associar o conhecimento a uma actividade lúdica, facilitar a aprendizagem e, ao mesmo tempo, promover o exercício físico e o desenvolvimento social. Sendo uma dissertação de teor prático, recorrer-se-á a uma metodologia mista. Primeiramente não intervencionista de observação directa, recolha e organização da literatura e numa segunda fase, intervencionista, a investigação activa, que consiste no projecto do sistema que será confrontada com diversos especialistas. Teve-se como objectivo projectar um sistema que leve à interacção com a música contribuindo para uma melhor relação entre as crianças e o conhecimento facilitando-lhes a aprendizagem. Assim esperamos contribuir para um maior conhecimento nas áreas do design de equipamentos infantis e criar um sistema passível de ser divulgado e comercializado mais tarde.
ABSTRACT: The awareness of the importance of public spaces dedicated to children in their full development has been growing since the late nineteenth century. This importance increases when we face with some changes in our society such as the reducing size of families and domestic space to play, among other. In parallel, there is also a growth of recreational and educational toys and equipment for scientific content market. Thus, in the present work, we intend to design an urban recreational equipment system for children that embraces music and its benefits in order to link knowledge to a recreational activity, facilitate learning and, at the same time, promoting exercise and social development. Being a practical dissertation, it will be applied a mixed methodology. First non-interventional of direct observation, gathering and organizing literature. In a second stage an interventional one through active interventional research, which consists in the designing of the system that will be confronted with different experts. The objective is to lead to the interaction with music contributing to a better relationship between children and knowledge and facilitating their learning. We hope to collaborate for a better knowledge in children equipment design area and create a system that can be marketed later.
APA, Harvard, Vancouver, ISO, and other styles
8

Franinović, Karmen. "Amplifying actions : towards enactive sound design." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1496.

Full text
Abstract:
Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.
APA, Harvard, Vancouver, ISO, and other styles
9

Miranda, Eduardo Reck. "Sound design : an artificial intelligence approach." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20692.

Full text
Abstract:
Modern computer technology enables the production of a virtually limitless variety of sounds by providing substantial access to the parameter settings of synthesis algorithms. However, the design of sounds using a synthesis algorithm is still accomplished in a very old-fashioned way: by feeding the algorithm with streams of numerical data. Furthermore, these numbers are usually worked out manually. For example, a composer who works with the Csound synthesis programming language must master Csound for implementing a synthesis algorithm and also specify all the input parameter values for the production of every single sound. Depending on the complexity of the algorithm, there might be cases where over a hundred parameters need to be specified for each sound event. In such a situation the imagination of the composer can easily become vulnerable to time-consuming, non-musical tasks. We argue that the power of the computer could also provide better ways for the composer to express his requests to the synthesis algorithm at hand and moreover, provide appropriate aid for the exploration of sonic ideas. To this end, we propose an Artificial Intelligence (AI) approach to sound design systems, which focuses on sound design as a knowledge-based kind of intelligent behaviour. We consider that sound design involves the explicit organisation, application and generation of knowledge. AI is aimed here at helping the composer to handle this knowledge by means of suitable knowledge representation and machine learning techniques.
APA, Harvard, Vancouver, ISO, and other styles
10

Hällgren, Nina. "Designing with Urban Sound : Exploring methods for qualitative sound analysis of the built environment." Licentiate thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-240078.

Full text
Abstract:
The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized.
Licentiatavhandlingen Designa med stadens ljud undersöker det urbana ljudrummets konstitution och kvalitativa egenskaper utifrån ett designorienterat och praktiknära perspektiv. Avsikten med arbetet är att utveckla verktyg och metoder för representation, kommunikation och analys av stadens exteriöra ljudmiljö genom att synliggöra interaktionen mellan arkitektur, ljudbildning och upplevelse. Genom att visa exempel på andra sätt att kommunicera och analysera ljud i staden än dagens vedertagna metoder, är syftet är att bidra till kunskapsutvecklingen inom fältet för urban ljudplanering- och design.

QC 20181211

APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Sound design"

1

Bernsen, Jens. Lyd i design =: Sound in design. København: Dansk Design Center, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

David, Attwood. Sound design: Classic audio & hi-fi design. London: Mitchell Beazley, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Murray, Leo. Sound Design Theory and Practice. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315647517.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Filimowicz, Michael. Doing Research in Sound Design. London: Focal Press, 2021. http://dx.doi.org/10.4324/9780429356360.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dal Palù, Doriana, Claudia De Giorgi, Beatrice Lerma, and Eleonora Buiatti. Frontiers of Sound in Design. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76870-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Loar, Josh. The Sound System Design Primer. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315196817.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sound design in the theatre. Englewood Cliffs, N.J: Prentice Hall, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Albrecht, Hartmut, and Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bracewell, John L. Sound design in the theatre. [Ithaca, N.Y]: Author, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Handbook of sound system design. Commack, NY: ELAR Pub. Co., 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Sound design"

1

Martin, Jean, and Frieder Butzmann. "Sound Design." In Filmmusik, 247–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-11237-0_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Malloy, Kaoiṁe E. "Sound Design." In The Art of Theatrical Design, 379–94. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003023142-35.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Zizza, Keith. "Sound Design." In Game Audio Fundamentals, 142–63. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003218821-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Wissner, Reba. "Sound Design." In David Lynch, 23–57. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003265450-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sinambari, Gh Reza. "Sound Generation." In Design Acoustics, 57–111. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-40183-2_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sarstedt, Marko, Monika Imschloss, and Susanne Adler. "Sound." In Multisensory Design of Retail Environments, 21–35. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-41242-5_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Cuzzucoli, Giuseppe, and Mario Garrone. "The Sound." In Classical Guitar Design, 1–29. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32992-1_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Walker, Stuart. "Nootka Sound." In Design and Spirituality, 188–90. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003107422-50.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bridgett, Rob. "Haptic Design." In Working with Sound, 114–16. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003354352-34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Zhu, Fang, and Baitun Yang. "Sound Levels." In Power Transformer Design Practices, 199–215. First edition. | Boca Raton, FL: CRC Press/Taylor & Francis Group, LLC, 2021.: CRC Press, 2021. http://dx.doi.org/10.1201/9780367816865-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Sound design"

1

CROSS, R. "TELEPHONE HANDSET DESIGN." In Reproduced Sound 1999. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/18835.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

GRIFFITHS, J. "ACOUSTIC DESIGN OF ARENAS." In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18181.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

MUNRO, A., and C. WALLS. "BBC GLASS STUDIO DESIGN." In Reproduced Sound 2010. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17266.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

ANGUS, JAS. "DIFFUSER DESIGN USING HUFFMAN SEQUENCES." In Reproduced Sound 2000. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/18650.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

AHNERT, W. "MODERN AURALIZATION ROUTINES AS DESIGN TOOLS." In Reproduced Sound 2019. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/15333.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

FEREKIDIS, L. "PRACTICAL ASPECTS OF DML-PANEL DESIGN." In Reproduced Sound 2002. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18357.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

ANGUS, JAS. "SPARSE LOUDSPEAKER ARRAYS AND THEIR DESIGN." In Reproduced Sound 2002. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18355.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

RODGERSON, K. "DSP DESIGN FOR DIGITAL MONITORING LOUDSPEAKERS." In Reproduced Sound 1993. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20628.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

JANSSEN, C. "SOUND SYSTEM DESIGN FOR INDOOR ARENAS." In Reproduced Sound 1992. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20854.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Nazemi, Mark, and Diane Gromala. "Sound design." In the 7th Audio Mostly Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2371456.2371459.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Sound design"

1

Dickerson, Kelly, Jeremy R. Gaston, and Savannah McCarty-Gibson. Parameterizing Sound: Design Considerations for an Environmental Sound Database. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ada616644.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zeller, Peter, and Alfred Zeitler. Psychoacoustic-Based Sound Design in Vehicle Engineering. Warrendale, PA: SAE International, May 2005. http://dx.doi.org/10.4271/2005-08-0028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Martinez, Jayson J., Joshua R. Myers, Thomas J. Carlson, Zhiqun Deng, John S. Rohrer, and Kurt A. Caviggia. Design and implementation of an underwater sound recording device. Office of Scientific and Technical Information (OSTI), September 2011. http://dx.doi.org/10.2172/1051997.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Stevens, R. D., B. V. Chapnik, and B. Howe. L51960 Acoustical Pipe Lagging Systems Design and Performance. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), October 1998. http://dx.doi.org/10.55274/r0010392.

Full text
Abstract:
Noise levels radiated from the exterior of a pipe wall can significantly contribute to the overall noise levels on the site of a gas plant and at neighboring properties. The noise inside the piping is generated both by the gas compressor itself, and by the flow of gas through valves, elbows and fittings. Sound inside the pipe couples to the pipe wall by exciting vibration modes, some of which are radiated from the exterior of the pipe into the air. Piping is geometrically circular, which provides it with considerable increased stiffness versus a flat plate, and thereby assists in its ability to contain low frequency sound inside the pipe. At high frequencies, where the wavelength of sound is short compared to the dimensions of the pipe, the response of the pipe approaches that of a flat plate, and considerably more sound is transmitted. Between the low and high frequency ranges lies the ring frequency, at which the wavelength of sound is equal to the circumference of the pipe; at this resonant frequency, a maximum amount of noise is transmitted out the pipe wall. For smaller pipe sizes, the ring frequency occurs above 5 kHz. For larger pipe sizes on the order of 24 inches to 36 inches, the ring frequency occurs in the range 1 kHz to 3 kHz. These frequencies fall in the most audible range of the sound spectrum. Low frequency sound is not usually of concern for pipe radiated noise, unless the source generates considerably low frequency energy. Acoustical lagging systems typically include one or more layers of porous insulation, to absorb sound and decouple vibration, and one or more layers of an impervious, heavy barrier material to contain the sound. The test configurations for this study were based on systems reported as commonly being used by PRCI member companies. Most of the member companies use fixed-in-place lagging configurations in which the various materials are applied in discrete layers to the pipe during installation. Self-contained, removable blanket systems are also in use by some member companies instead of fixed-in-place configurations, or around equipment such as valves where periodic removal of the lagging is necessary. This study provides a review of acoustic lagging systems for above ground gas piping to minimize noise.
APA, Harvard, Vancouver, ISO, and other styles
5

Morrison, Mark. Operational Protection in the Littoral: A Matter of Sound Operational Design. Fort Belvoir, VA: Defense Technical Information Center, February 1997. http://dx.doi.org/10.21236/ada325847.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Murrill, Steven R., and Michael V. Scanlon. Design of a Heart Sound Extraction Algorithm for an Acoustic-Based Health Monitoring System. Fort Belvoir, VA: Defense Technical Information Center, October 2002. http://dx.doi.org/10.21236/ada409127.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hallett, J. B. L51525 Sizing of Girth Weld Defects Using Focused Ultrasonic Beams. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), January 1987. http://dx.doi.org/10.55274/r0010202.

Full text
Abstract:
This project was produced to evaluate the performance of focused beams in sizing and positioning defects in pipeline girth welds. The sound beams from standard flat transducers were focused using acoustic lenses. Two types of plastics, having different sound velocities are used in the design of these lenses. One is used for the lens and the other for the wedge. The profile of the lens/wedge boundary was designed to focus the sound at a selected depth. The design takes into account the beam angle, beam diameter, focal point and working range required. The effects of test surface curvature were also incorporated into the design. This project was conducted in three phases using sample welds containing real defects, such as root cracks, slag and lack of sidewall fusion. In Phase III the individual defect size predictions were compared to the actual defects found during destructive examination. Only the readings where the signal sources could be positively identified as defects by breaking open or sectioning were included. All measurements were made to the nearest 0.5 mm (0.02 inches).
APA, Harvard, Vancouver, ISO, and other styles
8

Palmer. NR199506 Introduction to Limit-State Reliability Based Pipeline Design. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), July 1995. http://dx.doi.org/10.55274/r0011200.

Full text
Abstract:
�The practical objective of this study is to demonstrate to the pipeline industry that the limit-state and reliability based design methods have a sound and respectable basis which has generated genuinely valuable application. This study outlines the history and background to limit-state and reliability-based design, develops a design methodology and then demonstrates it by application to some real pipeline engineering problems. The study highlights the benefits and identifies any limitations in the methodology and discusses how they might be resolved.
APA, Harvard, Vancouver, ISO, and other styles
9

Johnson, Mark, Peter Tyack, Doug Gillespie, and Bernie McConnell. A Multi-Week Behavioral Sampling Tag for Sound Effects Studies: Design Trade-Offs and Prototype Evaluation. Fort Belvoir, VA: Defense Technical Information Center, September 2012. http://dx.doi.org/10.21236/ada573540.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Singh, Niranjan. A Method of Sound Wave Diffusion in Motor Vehicle Exhaust Systems. Unitec ePress, April 2017. http://dx.doi.org/10.34074/ocds.072.

Full text
Abstract:
It is common practice among young vehicle owners to modify the exhaust system of their vehicle to reduce exhaust backpressure with the perception that the output power increases. In the process of backpressure reduction, the output noise (Whakapau) of the vehicle also increases correspondingly. The conflict of interest that arises from modified vehicle exhaust systems and the general public is well publicised. This prototype was designed to meet the demands of exhaust back pressure reduction while at the same time mitigate the sound output of the vehicle. The design involves lining a cylindrical pipe with common glass marbles which is normally used for playing. The marbles are made of a sustainable material as it does not erode when exposed to exhaust gases and it is easily recycled. The prototype muffler is much smaller in size when compared to conventional mufflers. All tests were done in a simulated controlled environment and data collated using approved New Zealand Transport Agency testing regime. It has to be noted that the test focus was noise mitigation and not comprehensive engine performance testing. The results of the test prove a reduction of sound levels, however more testing needs to be undertaken with varying annulus depth, marble sizes and arrangements and engine loads.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Sound design' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography