Perceptual Effects of Dynamic Range Compression in Popular Music Recordings - January 2014
Accurate Calculation of Radiation and Diffraction from Loudspeaker Enclosures at Low Frequency - June 2013
New Measurement Techniques for Portable Listening Devices: Technical Report - October 2013
Film Music Scoring using a Digital Audio Workstation
Historically film composers have always complained about how much of their music is frequently lost during the dubbing process, as a result of it being blended or overridden by sound effects and dialogue. There is also a lot of contention over the way temporary music is selected and used within film production in general. This paper will discuss the following positions: 1. The notion that Hollywood film making still largely resembles the Henry Ford “Moving Assembly Line” model. 2. Within the last ten years Hollywood film making has been significantly influenced by the integrated use of music and sound technology. 3. The genre is clearly in a new phase/period where films are being more progressively produced as integrated art forms. Never before has there been such a strong movement by film makers (and agents of the film team) towards supporting an integrative approach in their use of music, sound, voice, text and image.
Click to purchase paper or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $20 for non-members, $5 for AES members and is free for E-Library subscribers.