The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, lossy compression and formats like .mp3, limitations of hardware like sound processor units and digital sound processors, requirements for random access memory, and descriptions of mono versus stereo audio. Each term's definition includes a short summary and link to the source, as well as the student's thoughts on how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for 18 terms researched by the student, including Foley artistry, sound libraries, uncompressed and lossy audio file formats (wav, aiff, mp3), limitations of audio hardware, mono and stereo audio, pulse code modulation (PCM), analog and digital audio recording systems, and surround sound. For each term, the student provides a short definition from an online source as well as their thoughts on how the term relates to their own production practice.
The document provides definitions for various audio and sound design terms. It includes definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like RAM, and audio recording systems like analog, digital, Mini Disc, and compact disc. For each term, it provides a short definition from an online source as well as how the term relates to the author's own sound production practice.
Hayden Parkes produced a glossary of key terms related to sound design and production for computer games. He provided definitions from online research for terms like foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards and MIDI keyboards, and concepts like sampling rates and bit depths. For each term, he described how the concept relates to his own work producing game audio, such as using uncompressed formats, stereo recording, and software plugins and sequencers.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
This document contains a glossary of terms related to sound design and production. It defines terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo audio, audio recording systems like analog and digital, MIDI, software sequencers, plugins, and MIDI keyboard instruments. For each term, it provides a short definition and URL source, as well as describing the relevance of the term to the author's own production practice, such as using .wav files and mono audio when editing sounds, and using MIDI for creating custom music tracks.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source as well as how the term relates to his own production practice, such as recording sounds for editing and using different file formats.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for 18 terms researched by the student, including Foley artistry, sound libraries, uncompressed and lossy audio file formats (wav, aiff, mp3), limitations of audio hardware, mono and stereo audio, pulse code modulation (PCM), analog and digital audio recording systems, and surround sound. For each term, the student provides a short definition from an online source as well as their thoughts on how the term relates to their own production practice.
The document provides definitions for various audio and sound design terms. It includes definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like RAM, and audio recording systems like analog, digital, Mini Disc, and compact disc. For each term, it provides a short definition from an online source as well as how the term relates to the author's own sound production practice.
Hayden Parkes produced a glossary of key terms related to sound design and production for computer games. He provided definitions from online research for terms like foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards and MIDI keyboards, and concepts like sampling rates and bit depths. For each term, he described how the concept relates to his own work producing game audio, such as using uncompressed formats, stereo recording, and software plugins and sequencers.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
This document contains a glossary of terms related to sound design and production. It defines terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo audio, audio recording systems like analog and digital, MIDI, software sequencers, plugins, and MIDI keyboard instruments. For each term, it provides a short definition and URL source, as well as describing the relevance of the term to the author's own production practice, such as using .wav files and mono audio when editing sounds, and using MIDI for creating custom music tracks.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source as well as how the term relates to his own production practice, such as recording sounds for editing and using different file formats.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 terms researched by the student from online sources. For each term, the student provides a short definition found on the internet along with the URL source, and also describes how the term relates to their own production practice if applicable. The terms cover areas such as sound file formats, audio limitations, recording systems, and MIDI instruments.
This document provides definitions for various terms related to sound design and production for computer games. It includes a glossary with terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware components, and recording systems. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, compressed formats like .mp3, audio hardware like sound processors and digital sound processors, audio limitations like mono and stereo sound, audio recording systems like analog, digital, compact discs, digital audio tape, and MIDI. It also defines software sequencers and plug-ins. For each term, it gives a short definition and references the source URL. It sometimes provides additional details on how the term relates to the author's own production practice.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms like Foley Artistry, Sound Libraries, audio file formats like .wav and .mp3, limitations like RAM and mono audio, recording systems such as CDs and MIDI, sampling constraints like bit depth and sample rate, and tools like plug-ins and MIDI keyboards. Jordan provides context for each term and how it relates to his own production work where possible.
Shaun warburton ig2 task 1 work sheet improvedwarburton9191
The document is a glossary assignment for a games design course requiring the student to research terms related to sound design and production. It includes:
- Definitions of 15 terms related to sound design methodology, file formats, audio limitations, recording systems, and sampling, with each definition citing a source URL.
- For each term, a brief description from the student of how the term relates to their own production practice.
The glossary covers areas such as foley artistry, sound libraries, uncompressed and compressed file formats like WAV and MP3, limitations like sound cards and RAM, recording methods from analogue to MIDI, and concepts like bit depth and sample rate.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley Artistry, Sound Libraries, file formats like .wav and .mp3, audio limitations like Sound Processor Unit and Stereo Audio, audio recording systems like Analog and Digital Audio Tape, and audio sampling concepts like Bit-depth and Sample Rate. For each term, it provides a short definition from an online source as well as how the term relates to the author's own production practice.
1) The document provides definitions and descriptions of various audio and sound design terms, sourced from online research. It includes terms related to sound file formats, audio recording systems, audio limitations, and more.
2) For each term, the document provides a short definition from an online source, as well as the student's own experience with that term in their production practice.
3) The student has experience using various sound file formats like .WAV and uncompressed formats for game sound programming. They have also used techniques like foley artistry and lossy compression for game audio.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document is a glossary created by a student named Terence Byrne for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, sound file formats, audio limitations, audio recording systems, and MIDI. For each term, the student provided a short definition from an online source along with a description of how the term relates to their own production practice.
The document provides definitions for various audio and sound design terms. It includes a glossary with definitions for terms like foley artistry, sound libraries, audio file formats (like .wav and .mp3), audio limitations involving hardware like sound processor units and digital sound processors, audio recording systems like analog, digital, MIDI, and software tools for audio like software sequencers, plugins, and MIDI keyboard instruments. The student provided researched definitions from online sources and described how each term relates to their own sound production practice.
1) The document is a glossary of terms related to sound design and production for computer games. It contains definitions of terms researched by the student along with descriptions of how each term relates to their own production work.
2) The terms defined include Foley artistry, sound libraries, uncompressed and lossy audio file formats, limitations of sound processors and memory, mono/stereo/surround sound, analog and digital audio recording systems, MIDI, software sequencers, plugins, and sampling constraints.
3) For each term, the student provided a short internet definition and URL, and explained how the concept was relevant to audio work they had done for classes or projects.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations like RAM, and audio recording systems like analog, CDs, and MIDI. For each term, the student explained their relevance to their own production practice, noting experiences recording sounds and music, editing files, using virtual instruments, and more. The glossary contains over 20 terms and will help the student in their study of sound design.
The document is a glossary produced by a student named Terence Byrne for a unit on sound design and production. It contains definitions of over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, MIDI, software, audio sampling, and other topics. For each term, the student provides a short definition from an online source along with a description of how the term relates to their own production practice when possible.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound processor units and random access memory, mono/stereo/surround sound, audio recording systems like analog and digital audio tape, MIDI, software sequencers and plugins, and concepts in audio sampling like bit-depth and sample rate. For each term, the student provided an internet definition and described its relevance to their own production practice where possible.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including sound processor units and random access memory, audio recording systems like analog and digital, MIDI, software sequencers, and audio sampling concepts like bit depth and sample rate. For each term, Jordan has provided a researched definition from an online source as well as his own comments on the relevance of the term to his production practice where possible.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards, and sampling concepts. For each term, the student provided a short definition from an online source as well as how the term relates to their own production work for the course.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, uncompressed audio, wav and other file formats, limitations of audio hardware, recording systems, sampling constraints and other audio technology terms. For each term, the student provided a short definition from an online source as well as how the term relates to their own production work, such as using uncompressed audio and wav files to achieve high quality sound or sampling constraints affecting file size.
The document is a glossary created by a student for a sound design course. It contains definitions for over 20 audio and sound design terms, sourced from online references. For each term, the student provides a short definition along with a discussion of how the term relates to their own production work. The glossary covers areas such as file formats, recording and playback systems, sampling, and audio software. The student's production practice involves using software like Reaper to create sound effects, jingles and other audio for a games design project.
The document provides definitions for various sound design and production terms as part of an assignment for a games design course. It includes definitions for terms like foley artistry, sound libraries, file formats like .wav and .aif, lossy compression, and .mp3 files. For each term, it provides a short definition from an online source as well as a brief description of how the term relates to the student's own production practice.
Jaunatnes politikas pamatnostādnes, Izglītības un zinātnes ministrija, 12.11....Latvijas Jaunatnes padome
Jaunatnes politikas pamatnostādņu 2015-2020 mērķis ir jauniešu dzīves kvalitātes uzlabošana. Pamatnostādnes ietver 5 rīcības virzienus - izglītību un apmācību, sociālo iekļaušanu, līdzdalību, nodarbinātību un uzņēmējdarbību, veselību un labklājību.
La globalización es un proceso a escala planetaria que consiste en la creciente comunicación e interdependencia entre los distintos países del mundo, uniendo sus mercados, sociedades y culturas.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 terms researched by the student from online sources. For each term, the student provides a short definition found on the internet along with the URL source, and also describes how the term relates to their own production practice if applicable. The terms cover areas such as sound file formats, audio limitations, recording systems, and MIDI instruments.
This document provides definitions for various terms related to sound design and production for computer games. It includes a glossary with terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware components, and recording systems. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, compressed formats like .mp3, audio hardware like sound processors and digital sound processors, audio limitations like mono and stereo sound, audio recording systems like analog, digital, compact discs, digital audio tape, and MIDI. It also defines software sequencers and plug-ins. For each term, it gives a short definition and references the source URL. It sometimes provides additional details on how the term relates to the author's own production practice.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms like Foley Artistry, Sound Libraries, audio file formats like .wav and .mp3, limitations like RAM and mono audio, recording systems such as CDs and MIDI, sampling constraints like bit depth and sample rate, and tools like plug-ins and MIDI keyboards. Jordan provides context for each term and how it relates to his own production work where possible.
Shaun warburton ig2 task 1 work sheet improvedwarburton9191
The document is a glossary assignment for a games design course requiring the student to research terms related to sound design and production. It includes:
- Definitions of 15 terms related to sound design methodology, file formats, audio limitations, recording systems, and sampling, with each definition citing a source URL.
- For each term, a brief description from the student of how the term relates to their own production practice.
The glossary covers areas such as foley artistry, sound libraries, uncompressed and compressed file formats like WAV and MP3, limitations like sound cards and RAM, recording methods from analogue to MIDI, and concepts like bit depth and sample rate.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley Artistry, Sound Libraries, file formats like .wav and .mp3, audio limitations like Sound Processor Unit and Stereo Audio, audio recording systems like Analog and Digital Audio Tape, and audio sampling concepts like Bit-depth and Sample Rate. For each term, it provides a short definition from an online source as well as how the term relates to the author's own production practice.
1) The document provides definitions and descriptions of various audio and sound design terms, sourced from online research. It includes terms related to sound file formats, audio recording systems, audio limitations, and more.
2) For each term, the document provides a short definition from an online source, as well as the student's own experience with that term in their production practice.
3) The student has experience using various sound file formats like .WAV and uncompressed formats for game sound programming. They have also used techniques like foley artistry and lossy compression for game audio.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document is a glossary created by a student named Terence Byrne for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, sound file formats, audio limitations, audio recording systems, and MIDI. For each term, the student provided a short definition from an online source along with a description of how the term relates to their own production practice.
The document provides definitions for various audio and sound design terms. It includes a glossary with definitions for terms like foley artistry, sound libraries, audio file formats (like .wav and .mp3), audio limitations involving hardware like sound processor units and digital sound processors, audio recording systems like analog, digital, MIDI, and software tools for audio like software sequencers, plugins, and MIDI keyboard instruments. The student provided researched definitions from online sources and described how each term relates to their own sound production practice.
1) The document is a glossary of terms related to sound design and production for computer games. It contains definitions of terms researched by the student along with descriptions of how each term relates to their own production work.
2) The terms defined include Foley artistry, sound libraries, uncompressed and lossy audio file formats, limitations of sound processors and memory, mono/stereo/surround sound, analog and digital audio recording systems, MIDI, software sequencers, plugins, and sampling constraints.
3) For each term, the student provided a short internet definition and URL, and explained how the concept was relevant to audio work they had done for classes or projects.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations like RAM, and audio recording systems like analog, CDs, and MIDI. For each term, the student explained their relevance to their own production practice, noting experiences recording sounds and music, editing files, using virtual instruments, and more. The glossary contains over 20 terms and will help the student in their study of sound design.
The document is a glossary produced by a student named Terence Byrne for a unit on sound design and production. It contains definitions of over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, MIDI, software, audio sampling, and other topics. For each term, the student provides a short definition from an online source along with a description of how the term relates to their own production practice when possible.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound processor units and random access memory, mono/stereo/surround sound, audio recording systems like analog and digital audio tape, MIDI, software sequencers and plugins, and concepts in audio sampling like bit-depth and sample rate. For each term, the student provided an internet definition and described its relevance to their own production practice where possible.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including sound processor units and random access memory, audio recording systems like analog and digital, MIDI, software sequencers, and audio sampling concepts like bit depth and sample rate. For each term, Jordan has provided a researched definition from an online source as well as his own comments on the relevance of the term to his production practice where possible.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards, and sampling concepts. For each term, the student provided a short definition from an online source as well as how the term relates to their own production work for the course.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, uncompressed audio, wav and other file formats, limitations of audio hardware, recording systems, sampling constraints and other audio technology terms. For each term, the student provided a short definition from an online source as well as how the term relates to their own production work, such as using uncompressed audio and wav files to achieve high quality sound or sampling constraints affecting file size.
The document is a glossary created by a student for a sound design course. It contains definitions for over 20 audio and sound design terms, sourced from online references. For each term, the student provides a short definition along with a discussion of how the term relates to their own production work. The glossary covers areas such as file formats, recording and playback systems, sampling, and audio software. The student's production practice involves using software like Reaper to create sound effects, jingles and other audio for a games design project.
The document provides definitions for various sound design and production terms as part of an assignment for a games design course. It includes definitions for terms like foley artistry, sound libraries, file formats like .wav and .aif, lossy compression, and .mp3 files. For each term, it provides a short definition from an online source as well as a brief description of how the term relates to the student's own production practice.
Jaunatnes politikas pamatnostādnes, Izglītības un zinātnes ministrija, 12.11....Latvijas Jaunatnes padome
Jaunatnes politikas pamatnostādņu 2015-2020 mērķis ir jauniešu dzīves kvalitātes uzlabošana. Pamatnostādnes ietver 5 rīcības virzienus - izglītību un apmācību, sociālo iekļaušanu, līdzdalību, nodarbinātību un uzņēmējdarbību, veselību un labklājību.
La globalización es un proceso a escala planetaria que consiste en la creciente comunicación e interdependencia entre los distintos países del mundo, uniendo sus mercados, sociedades y culturas.
The document discusses the audience figures and profits of film noir movies. Film noir is now a niche genre that produces films for specialized audiences. In its heyday, film noir was highly popular and profitable due to low production costs and bulk sales to theaters. Modern neo-noir films try to appeal to broader audiences through techniques like big name actors and flashy effects. Warner Brothers is a major distributor of both classic and modern film noir titles.
This document discusses the features and origins of rock/pop musicals and operas. It notes that rock/pop operas contain songs from the rock and pop genres and cover dramatic themes like love and religion. Examples mentioned include Jesus Christ Superstar, Spring Awakening, and We Will Rock You. The genre originated in the late 1960s with productions like Hair that incorporated rock music and counterculture themes. The popularity of rock music and social movements of the time inspired theatre producers to embrace these new forms of musical entertainment.
The circulatory system is composed of two circulations - pulmonary and systemic. The pulmonary circulation transports deoxygenated blood from the heart to the lungs to obtain oxygen and then back to the heart. The heart is fist-sized and pear-shaped, containing four chambers: two atria separated by an interatrial septum and two ventricles separated by an interventricular septum. Normal blood pressure is 120/80, where 120 is systolic and 80 is diastolic, and maintaining a healthy diet and daily exercise can help control blood pressure and decrease heart disease risks.
This teaching manual outlines a biology lesson for 9th standard students about how water and carbon dioxide enter leaves. The lesson will use discussion, demonstrations with a pepper plant and diagrams to help students understand the concepts. Water enters the roots through root hairs via osmosis and moves up xylem vessels. Carbon dioxide enters the leaves through pores called stomata. The students will learn about these processes, identify plant structures, and develop an understanding of how plants transport water and carbon dioxide into their leaves.
La misión de la Universidad de Londres es educar, conocerse a sí mismo y aceptarse, amarse a uno mismo y cuidarse para superarse, y transmitir conocimiento y transformar a la sociedad.
Solidarity eocnomy building alternatives for people and planet papers and rep...roland_saavedra
This document provides an introduction and summary of the book "Solidarity Economy: Building Alternatives for People and Planet". It describes the book as compiling papers and reports from the U.S. Social Forum in 2007 focused on building economic alternatives and the solidarity economy. It acknowledges the organizers of the U.S. Social Forum and the contributors to the book for documenting their presentations and discussions on developing a solidarity economy network in the United States.
Brandon McNamara produced a glossary of 15 terms related to sound design and production for computer games. For each term, he provided a short definition from an online source along with details about how the term relates to his own production practice. Some of the key terms he defined and related to his work included Foley artistry, which he will use to add most sounds to his game, sound libraries which will be used to create most of his sounds, and software sequencers and plug-ins which he uses to edit most of the sounds.
The document provides definitions for various audio and sound design terms. It includes a glossary with over 15 terms defined, along with the relevance of each term to the author's own production practice. Some of the key terms defined include foley artistry, sound libraries, .wav and .mp3 file formats, audio limitations like mono vs stereo sound, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit depth and sample rate.
This document contains a glossary of terms related to sound design and production for a games design course. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations involving sound cards and processors, and other concepts. For each term, it gives a short definition from an online source and asks the student to describe how the term relates to their own production practice.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations such as memory and processors, recording systems like analog and digital audio tape, and more. For each term, the student provided an internet definition source and described how the term relates to their own production practice, such as using sound libraries to store recorded sounds and rendering files into different formats for various uses.
Nathan Mather has produced a glossary of terms related to sound design and production. The glossary contains definitions for terms such as foley artistry, sound libraries, uncompressed audio files, .wav files, .aiff files, .au files, .smp files, lossy compression, .mp3 files, sound processor units, digital sound processors, random access memory, mono audio, stereo audio, and surround sound. For each term, Nathan provides a short definition from an online source as well as his own experience with how the term relates to his production practice.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, limitations of audio hardware like sound cards, and audio techniques like mono, stereo, and surround sound. For each term, it gives a short definition from an online source and describes how the term relates to the author's own production practice of creating sounds for games.
Sound recording glossary by Liam Oven for Unit 73ItsLiamOven
The document provides definitions for various terms related to sound design and production. It includes a glossary with definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, audio limitations involving things like sound processor units and digital sound processors, audio recording systems involving analogue, digital mini disc and compact disc formats, MIDI, and software sequencers. For each term, the student provided a short definition from an online source as well as their own thoughts on how the term relates to their production practice.
The document provides definitions for terms related to sound design and production. It includes a glossary with terms like Foley artistry, sound libraries, sound file formats (.wav, .aiff, .au, .smp), and lossy compression. For each term, it provides a short definition from an online source and describes how the term relates to the author's own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, uncompressed audio, WAV and AIFF file formats, lossy compression, MP3 files, sound cards, digital sound processors, RAM, mono audio, stereo audio, surround sound, PCM, analog audio, digital mini discs, and compact discs. For each term, it provides a short internet-sourced definition and links, as well as describing the relevance of the term to the author's own production practice where possible.
The document is a glossary of terms related to sound design and production for computer games created by Phillip Norris Wynne. It contains definitions for over 20 key terms sourced from online references and describes the relevance of each term to the author's own production practice. Some of the terms defined and summarized include Foley artistry, sound libraries, audio file formats like .wav and .mp3, lossy compression, audio limitations of hardware like sound processor units, and audio sampling concepts like bit depth and sample rate.
This document contains a glossary of terms related to sound design and production. It defines terms like foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processor units and digital sound processors, audio recording systems, audio sampling concepts, and how they relate to the student's own production practice of manipulating sounds to create new sounds. The student researched definitions for each term and explained how some of the concepts, like using MIDI keyboards and sound sequencers, directly applied to their work, while other terms they were unfamiliar with or did not use in their projects.
This document contains a glossary of terms related to sound design and production for computer games. It defines key terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving sound cards and RAM, audio recording systems involving analog, digital, and MIDI, and concepts of audio sampling like bit-depth and sample rate. For each term, the glossary provides a short definition from an external source as well as how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production. It includes definitions for terms like foley artistry, sound libraries, .wav files, lossy compression, MP3s, sound processors, mono vs stereo audio, MIDI, software sequencers, plugins, and more. Each term has a short definition from an online source as well as a brief description of how the term relates to the author's own production practice. The glossary is intended to demonstrate the author's research into sound design methodology and technology.
The document defines and describes various terms related to sound design for computer games. It provides short definitions for terms like Foley artistry, sound libraries, uncompressed and lossy file formats like WAV and MP3. It also discusses audio hardware components like sound processor units, digital signal processors and limitations like random access memory. Methods of audio playback and recording are covered, such as mono, stereo, surround sound, and analogue recording. The student explains the relevance of each term to their own production work for the games design course and unit.
We could use software sequencers and MIDI files to create musical pieces on our computers. MIDI allows us to record notes, lengths, dynamics and other parameters to create digital music. We can then use software instruments and plugins to alter sounds and playback our musical performances through our computers. We may also use various file formats like .wav, .mp3, and lossy compression to ensure our sound files don't take up too much storage space but still sound high quality. Different recording and playback systems like analogue, CDs, and digital audio tape allow storage of audio files in different portable formats. Understanding these concepts is important for effective sound design and production.
This document provides definitions for key terms related to sound design and production. It includes a glossary with over 20 terms defined, each with a short definition and URL for reference. Examples of defined terms include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like sound cards, digital audio techniques like PCM, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit-depth and sample rate. For many terms, the document also provides a brief description of how the term relates to the author's own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms sourced from online references. For each term, the student provided the online definition and described the relevance of the term to their own production work creating sound effects and music for a 2 minute GTA video game sequence. The glossary covers areas such as sound design methodology, file formats, audio limitations, recording systems, sampling and more.
This document provides a glossary of terms related to sound design and production for computer games. It includes definitions for terms like foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving hardware like sound processor units, and audio recording systems like analog, digital discs, MIDI, and sampling concepts like bit depth and sample rate. For each term, the student provided an internet definition source and described how the term relates to their own production practice.
This document provides a glossary of terms related to sound design and production for computer games. It includes definitions for terms like foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processor units and RAM, recording techniques like analogue and digital, and sampling concepts involving bit depth and sample rate. For each term, the student provided a short definition from an online source as well as a brief description of how the term relates to their own production practice.
This document provides definitions for sound design and production terms as part of a unit on sound for computer games. It includes a glossary with over 20 terms defined, including foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression, audio cards, mono and stereo audio, and analogue recording. For each term, the student provided a short definition from an online source as well as their own thoughts on how the term relates to their production practice.
The document outlines an assignment brief for a Level 3 Diploma in Creative Media Production requiring students to create a comic or graphic novel. Students will research storytelling techniques, write and illustrate a short comic based on their own life, and develop a storyboard. They will learn about narration, dialogue, character development and building tension to create an engaging story for games. The final submission will be a fully colored A2 storyboard, along with research and draft materials, which students will present and evaluate in a group critique.
Y1 Games IOg2 learner assessment submission declarationPaulinaKucharska
This document contains a learner assessment submission and declaration for Paulina Karolina Kucharska. It lists the 11 tasks submitted as evidence for the assessment of Unit 73 Sound for Computer Games, including blog posts with descriptions and links for each task. Paulina Karolina Kucharska signs the declaration to confirm the work is her own and understands false declarations constitute malpractice.
Sound design in computer games analysis work sheet - Warcraft IIIPaulinaKucharska
The soundtrack for the Warcraft III cutscene establishes the setting as a fancy, prestigious place through choir singing and bells. As the scene progresses, the atmosphere becomes more aggressive and ominous through increased volume and doom-like tube sounds. When Arthas kills the king, the mood becomes grave and funeral-like. The narrative reveals that Arthas kills his father the king to succeed him and plans to reshape the kingdom in a way that will impact the entire world. Various sound effects were likely created using studio recordings, field recordings, foley artistry, and virtual instruments.
Sound design in computer games analysis work sheet dark space 3PaulinaKucharska
The document analyzes the soundtrack of the video game "Dark Space 3". It identifies different sound elements used in two settings - a snowy outskirts and a futuristic city. Production techniques are suggested for specific sounds, like field recordings for walking in snow and Foley artistry for futuristic doors. The mood created by the music and sounds is described as dramatic and tragic. Elements like gunshots, explosions and hits were likely produced with real recordings, Foley artistry or VST plugins. The narrative jumps between three characters experiencing misfortune - someone lost in the snow, a soldier killed by his general, and a man forced on a mission after a disturbing message. Dialogues were likely studio recordings while other voices were modified digit
Sound design in computer games analysis work sheet - The Last of UsPaulinaKucharska
The document analyzes the soundtrack of the game The Last of Us. It describes the setting of the imaginary game as a shadow temple or battle area with tropical instruments played. The mood starts quiet but builds tension with impacts and faster beats as the battle begins. Specific sound effects like hits were likely made with foley artistry or plugins. The narrative involves Ellie wanting to play an arcade game but it's broken, so Riley narrates an imaginary fighting adventure game for her using voice actors with some panning.
Sound design in computer games analysis work sheet - Borderlands 2PaulinaKucharska
This document provides an analysis of the soundtrack from the video game Borderlands 2. It examines the sound techniques used to establish the setting, mood, and narrative through the soundtrack. Specific elements like wind sounds were likely created with VST plugins or field recordings modified in software. Parts of the fantasy music section used traditional instruments, while other parts used MIDI and VST instruments. Noise effects like metal and weapons were probably studio recordings or Foley artistry. The narrative is told through dialogue between the characters that was likely recorded in a studio with voice actors.
Young witch Mixxy was tasked with delivering seeds to maintain peace in the Magical Land, but had an accident that scattered the seeds. This allowed corruption to take hold, making the unicorns believe they were enslaved. They declared they would now enslave the witches and fairies. Mixxy and her bird Potoo realize they must find the Grand Witch's stored seeds to restore order before it's too late. They set off on their broom to save everyone.
The document outlines an audio recording titled "Unicorn Slayer" that serves as an introduction for a fantasy adventure game. It describes the main characters, including the teenage witch Mixxy who becomes the heroine, and her unusual bird companion Potoo. The recording introduces the inciting incident where Mixxy's carelessness causes magical seeds to be destroyed, angering the evil unicorn leader Camellias. The audio production will feature dialogue between characters, narration, and sound effects to tell the story and create atmosphere through the changing music. Studio recording and Foley techniques will be used to capture most of the audio elements.
The document outlines plans for an audio production of a fantasy story involving a witch named Mixxy, an evil unicorn named Camellias, and a potoo bird narrator. Mixxy is given the task of planting magical seeds but loses them, allowing corruption to spread and turn the unicorns evil. In an opening scene, Mixxy encounters the corrupted unicorn Camellias. The production will use studio recording for dialogue between Mixxy, Camellias, and the narrator. Foley artistry and some field recording will create sound effects for actions and environments. Cheerful then ominous music will track the changing mood.
The document outlines key details about a fantasy/adventure game including the genre, influential games, main characters, storyline, audio production needs, and recording techniques. The game takes place in a land threatened by spreading evil and the protagonist Mixxy must defeat evil unicorns to save the land after failing a task. Key characters include the narrator, Mixxy, Potoo, and Camellias. Audio production will require dialogue recording, original music composition, and sound effects creation and implementation.
The document is a draft personal statement for Paulina Kucharska's application to Salford City College's BTec Level 3 90 Credit Diploma in Creative Media Production Games Design course. It asks her to answer questions about her dream jobs in the games industry, the skills required, her relevant skills and experience, soft skills, and personal interests. For her dream jobs, she lists concept artist and indie games developer. She discusses the portfolio and skills needed to work in games. For her skills, she mentions digital art, design, programming, and storytelling abilities. She discusses relevant voluntary work painting and working in a charity shop. For skills, she lists both those she has and wants to develop further like communication and
This resume is for Paulina Kucharska, who was born in 1997 in Poland and currently lives in Eccles, England. She has studied creative media production at Salford City College, where she earned distinctions, and has work experience in volunteering with the National Citizen Service Programme and British Heart Foundation. Her skills include creativity, digital art, writing, and computer literacy. In her spare time she enjoys karate, role playing games, reading, and music. She provides contact information and lists five referees from Salford City College.
This document provides an assignment brief for a unit on understanding the computer games industry. The purpose of the assignment is for students to prepare personal career development materials, including a portfolio, CV, skills audit, and plans for higher education or apprenticeships after completing their course. Students must complete 5 tasks: 1) Create a portfolio of completed work, 2) Prepare a CV using a template, 3) Produce a skills audit and personal statement, 4) Create a shortlist of 5 higher education courses, and 5) Create a shortlist of 10 apprenticeships. The deadline is February 27th and the assignment aims to help students prepare for their progression after the course.
Young witch Mixxy accidentally drops a bag of seeds meant to spread peace in the Magical Land. This allows mischief to take hold, corrupting the unicorns. Camellias leads the unicorns to declare they will enslave the witches and fairies. Mixxy realizes she must make things right. She and her bird Potoo fly off to find more seeds from the Grand Witch, hoping to restore order before it's too late.
This document lists various hardware and software items for audio recording and production, including a Rode shotgun microphone, Sennheiser headphones, a Sound Devices recorder, a Rycote boom pole, and a microphone stand. It also lists the software Absynth 5. Additionally, it provides a link to Greystroke Studio, a recording studio in London.
Potoo, Witch Mixxy, and Unicorn discuss a beautiful spring day that turns ominous when explosions and screams are heard in the background. Unicorn reveals that unicorns have rebelled and plan to enslave or kill witches and fairies. Though Unicorn laughs at the idea, Mixxy vows to defeat the unicorn lord and flies off with magic wand in hand, determined to end the threat as heroic music swells.
ig2 game audio cut sequence production_2014 to 2015PaulinaKucharska
This document provides an assignment brief for a qualification in creative media production. The assignment involves producing audio assets for computer game cut sequences, including recording dialogue and sound effects, and editing them together. It consists of 11 tasks, such as researching sound design terms, analyzing existing game audio, scriptwriting, recording dialogue in a studio, editing sounds using software, and programming the finished audio into a game. The tasks assess learning outcomes related to understanding sound design, pre-production documentation, communication skills, and applying audio production skills to industry standards. The deadline for completion is June 5th, 2015.
ig2 game audio cut sequence production_2014 to 2015
Sound recording glossary
1. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
1
Produce a glossary of terms specific to the methods and principles of sound design and production. Using a provided template, you must
research and gather definitions specific to provided glossary terms. Any definitions must be referenced with the URL link of the website you
have obtained the definition.
You must also, where possible, provide specific details of how researched definitions relate to your own production practice.
Name: Paulina Karolina Kucharska RESEARCHED DEFINITION (provide short internet
researched definition and URL link)
DESCRIBE THE RELEVANCE OF THE
RESEARCHED TERM TO YOUR OWN
PRODUCTION PRACTICE?
SOUND DESIGN
METHODOLOGY
Foley Artistry A FoleyArtist is a personwhocreates(or re-creates)
sounds for movies. For example, ifthe soundof an
actor's footsteps were not recordedwell or lost when
the voice wasre-recorded, a Foleyartist will recreate
them. In fact, except for dialogue andmusic, almost all
the sounds youhear inHollywoodfilms is Foleysound.
Foleyartists work ina Foleystudio, a room withmany
props, a viewingscreenandrecording equipment. The
artist watches the film andcreates the soundinreal
time.
http://www.mediacollege.com/employment/film/foley-
artist.html
Foleyartistryis a method inwhichthe additional
soundis addedinreal time to a recording. It usually
includes special effects or just the normalones
which were either not recordedproperlyor at all.
After the recordingI maylisten again to the track
and think of what else I can add. Thenwith
recorder againI can create more sounds, bydoing
various actions (e.g. moving myhandingrains or
drop somethingheavy) and hear the outcome.
Sound Libraries A collectionof sounds storedon file (for example on
CDs, DVDs, or as digital audio files)
http://www.collinsdictionary.com/dictionary/english/so
und-library
Sound libraries are either paidfor or for free. They
store soundfileswhichcanbe sharedandre used
for future tracks.
If I wouldlacksounds or music, thenI canlookinto
free soundlibraries, whichallowpeople to store
and borrow sounds.
SOUND FILE FORMATS Uncompressed Uncompressedfile formats are exact copies of the
originaldata. As such theytake upmore space than
compressedformats. […] the cost of storage has reached
a point where the extra storage requirements and
associatedcost for uncompressed formats is negligible.
[Uncompressedaudiofiles are: AIFF, FLACandWAV]
Uncompressedsoundfileskeep the original data
without anylacking tones. However theydo take
more space than lossyfile formats.
To have the original soundrecording without any
noise missingI shoulduse the files, whichwill keep
the soundrecordinguncompressed. I maydo that
while recording and collectingsounds, dialogue and
2. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
2
http://www.audiostream.com/content/guide-common-
music-file-types
music and before joiningthem together intoa
single piece of track.
.wav Short for WAVeform Audio Format, it is normallyusedin
an uncompressed format onthe Microsoft Windows
platform. This rawaudioformat, whichwas developed
jointlybyIBMand Microsoft, stores audiodata in blocks.
On the digital music scene, its usefulness has diminished
over time withthe development of better losslessaudio
formats, suchas FLACandApple lossless. It is a standard
that will probablybe used for some time yet due to its
widespreaduse inprofessional music recordingandis
still a verypopular format for audio/video applications.
http://mp3.about.com/od/glossary/g/WAV_def.htm
This file format willbe probablyusedbyus, as we
work on Windows system. As it is anuncompressed
format, it will be goodto keepthe full recording
without losing the small bits of it. However, it may
take a lot of space inthe folder.
.aiff Stands for "Audio Interchange File Format." AIFFis a file
format designedto store audiodata. It wasdeveloped
byApple Computer, but is basedonElectronic Arts'IFF
(Interchange File Format), a container format originally
usedon Amiga systems.
A standard AIFF file contains 2 channelsof
uncompressed stereo audio witha sample size of 16
bits, recordedat a samplingrate of 44.1 kilohertz. Thisis
also knownas "CD-qualityaudio," since CDs use the
same audiospecifications.
http://techterms.com/definition/aiff
This format is usedbyApplecomputers.
.au Audio file introduced bySunMicrosystems;used
primarilyon Sunor other Unix-basedmachinesandhas
been adoptedbyseveral audioprograms, including
Adobe AuditionandQuickTime; stores the data inthree
parts:a header (24 bytes), a variable lengthannotation
block, andthe actualaudio data.
http://fileinfo.com/extension/au
One of audioformats, usedbybothAdobe Audition
and QuickTime.
.smp Music file usedbySmartMusic, a music practice
applicationfor band, orchestra, and voice; saves an
accompaniment that can be used for practicing solos
and other musical parts
The smp format is suitable for savingthe music
recordings, however I am not a musician, and I
wouldonlyuse it for recordingdialogue.
3. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
3
http://fileinfo.com/extension/smp
Lossy Compression Anyaudiocompressionalgorithm which does not retain
everybit of data but onlyreproduces a signal that
sounds more or less like the original. Examplesare MP1,
MP2, MP3, AAC.
http://dictionary.reference.com/browse/lossy+audio+co
mpression
Lossycompressioncuts offthe unwanted bits of
data making the whole file to take lessspace ona
memorydisc. Theyoften sound verysimilar to an
originaltrack, but more the file is compressed, the
worse qualityit is.
Insteadof wastingspace onmemorycard as with
uncompressed sounds, I can use soundfile formats
for a lossycompression. Lossycompression, same
as with pictures, takesawaybits of sound we can’t
hear andremains similar to the original track.
.mp3 There are manyaudiofile formats ofwhichthe first was
MPEG-1 Audio Layer 3 -- or more commonlyreferredto
as MP3. It is a lossycompression algorithm that removes
certainfrequencies that humans can't hear. When
creating anMP3 file, the bitrate that is usedto encode
the audiohas a big effect onthe qualityof the sound.
Settinga bitrate that is too lowcanproduce a file that
has poor sounding quality.
http://mp3.about.com/od/glossary/g/mp3def.htm
Mp3 is the most familiar format for me, it will be
suitable for a copyof the finishedrecording, as it
won’t take muchspace. It maybe alsomore easily
put on YouTube (ifneeded).
AUDIO LIMITATIONS Sound Processor Unit (SPU) Like its graphics counterpart, the GPU, the APU (audio
Processing Unit] helps increase overall PCsystem
performance byoff-loading audioeffects processing
from the CPU. Unlike traditional soundcards with
extremelylimitedfunctionsets, anAPU is definedbythe
following three parameters:
An advancedarchitecture featuring, at a minimum,
support for hardware accelerationof 256 2D voices and
64 3D voices, andadvanced3D positional audio.
Full support for all DirectX8.0 features and capabilities.
The abilityto incorporate support for DolbyDigital 5.1
and a DolbyDigital encoder inhardware to deliver an
uncompromised, cinematic-qualityaudioexperience.
http://www.nvidia.co.uk/object/apu.html
It’s similar to a soundcard. It stores the decoded
data of anaudio, and thenplays it backthrough
speakers. Incontrast to normal sound cards SPU is
more advanced and enhances the sound quality.
It supports programmes such as DirectX(which
supports game software and video) and Dolby
Digital.
Digital Sound Processor (DSP) Digital Signal Processors (DSPs)take real-world signals
like voice, audio, video, temperature, pressure, or
position that have been digitized andthen
It converts data of audioinboth ways – digital-to-
analogue andanalogue-to-digital. It manipulates
sounds going throughit. The sounds is first taken
4. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
4
mathematicallymanipulate them. A DSPis designed for
performing mathematical functions like "add",
"subtract", "multiply" and"divide" veryquickly.
http://www.analog.com/en/content/beginners_guide_t
o_dsp/fca.html
from real world, digitizedandagainit returns back
in either analogue or digitised form.
Random Access Memory (RAM) RAMis made up ofsmall memorychips that form a
memorymodule. These modulesare installedin the
RAMslots onthe motherboardof your computer.
[…]Running programs from the RAMof the computer
allows themto functionwithout anylagtime.
http://techterms.com/definition/ram
In order to run files andprogrammessmoothly, the
computers readinformationfrom RAM. The more
RAMthe computer (or anyother hardware)has,
the better the performance.
Mono Audio Mono or monophonic describes a systemwhere all the
audiosignals are mixedtogether androutedthrougha
single audiochannel. Monosystems canhave multiple
loudspeakers, andevenmultiple widelyseparated
loudspeakers. The keyis that the signal contains nolevel
and arrival time/phase informationthat wouldreplicate
or simulate directional cues. […]The big advantage to
mono is that everyone hears the verysame signal, and,
in properlydesignedsystems, all listeners wouldhear
the systemat essentiallythe same soundlevel. This
makes well-designedmonosystems verywell suitedfor
speechreinforcement as theycanprovide excellent
speechintelligibility.
http://www.mcsquared.com/mono-stereo.htm
While playing the recording fromsimple
headphonesor speakers, it is better to keep them
in mono. It will help focusingmore onlisteningand
it will be best whenworking onthe audio. It is also
easier to joinsounds in audio; however, it doesn’t
create anydepth to the recording.
Stereo Audio True stereophonic soundsystems have two independent
audiosignal channels, andthe signalsthat are
reproducedhave a specific level andphase relationship
to each other sothat whenplayedback through a
suitable reproductionsystem, there will be anapparent
image ofthe original soundsource. Stereowouldbe a
requirement if there is a need to replicate the aural
perspective and localizationof instruments ona stage or
platform, a verycommon requirement inperforming
arts centres.
Stereo is better to be usedafter joiningthe
different sounds as a final phase ofwork. It will
take more time andI’llneed to tryto imagine from
what directionthe sounds come, either right or
left.
5. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
5
http://www.mcsquared.com/mono-stereo.htm
Surround Sound Surroundsoundis a term usedto describe a type of
audiooutput inwhichthe sound appears to "surround
the listener" by360 degrees. Surround soundsystems
use three or more channels andspeakers in front and
behindthe listener to create a surrounding envelope of
soundanddirectional audiosources.
http://www.webopedia.com/TERM/S/surround_sound.
html
Surroundsounds willbe the trickiest to mix, andit
will involve manyspeakers, which we don’t have in
class. However, surroundsound will addmore
excitement to the audiorecording when finished. If
the speakers won’t be to use, thenI maystayjust
with Stereo.
Direct Audio (Pulse Code
Modulation – PCM)
Pulse code modulation (PCM) is a digital representation
of an analog signal that takes samples ofthe amplitude
of the analogsignal at regular intervals. The sampled
analog data is changedto, andthenrepresentedby,
binarydata. […]Each sample ina PCMis quantized,
approximating a verylarge set ofpossible valuesbya
relativelysmallset ofvalues, which maybe integers or
even discrete symbols. No matter how complex they
are, all analog data maybe digitized. This includes
analog data suchas full-motion video, sound, telemetry
and virtualreality.
http://www.techopedia.com/definition/24128/pulse-
code-modulation-pcm
PCM allows analogue recordings to be converted
and savedas digital data.
AUDIO RECORDING SYSTEMS Analogue As humans, we perceive the worldin analog. Everything
we see andhear is a continuous transmission of
informationto our senses. This continuous streamis
what defines analogdata. Digital information, on the
other hand, estimatesanalog data using onlyonesand
zeros.
For example, a turntable (or record player) is ananalog
device, while a CD player is digital. This is because a
turntable reads bumps andgrooves from a recordas a
continuous signal, while a CD player onlyreads a series
of ones andzeros.
[…]analogdata is actuallymore accurate thandigital
data. However, digital data can canbe manipulated
easier andpreservedbetter thananalog data. More
importantly, computers can onlyhandle digital data,
Analogue data, thoughbetter inquality, is much
harder to edit, as the recordingis savedina
continuous line. It alsocan’t be storedon
computers unless digitised, so this data
6. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
6
which is whymost informationtodayis storeddigitally.
http://techterms.com/definition/analog
Digital Mini Disc A pre-recordedMiniDisc is exactlylike a CD, except
smaller. […]A recordable MiniDisc is a magneto-optical
device capable of storing 140 megabytes ofinformation.
Music canbe scattered all over the diskandthe player
can "put it together" correctlywhenplaying the disk.
This means that you canerase andre-recordsongs on a
MiniDisc without having to worryabout how theyfit
together. This is tremendouslyconvenient comparedto
a cassette tape, where you have to basicallyre-record
the entire tape if you want to change anyof the songs
on it. There are also4-track MiniDisc recorders for
musicians, which are great for recording songs as they
are performedandthen mixing the tracks.
http://electronics.howstuffworks.com/question55.htm
As the definition shows, the Mini Disc is suitable for
recording music, muchbetter thana regular CD. It’s
good for fewsongs, or tracks, so it maybe used to
store our soundrecordings.
Compact Disc (CD) An optical disk approximately4.75 inches (12 cm) in
diameter, on which a program, data, music, etc., is
digitallyencodedfor a laser beam to scan, decode, and
transmit to a playbacksystem, computer monitor, or
televisionset.
http://dictionary.reference.com/browse/compact+disk
CD, alongside withpendrive, is the most familiar
wayfor me to save data. If the soundfile will be
small enough, I couldkeep andsave them onCD,
though I prefer the other storage object.
Digital Audio Tape (DAT) DAT (Digital AudioTape)is a standard mediumand
technologyfor the digital recordingof audioon tape at a
professional level of quality. A DAT drive is a digitaltape
recorder with rotatingheads similar to those foundina
video deck. […]DAT hasbecome the standardarchiving
technologyinprofessionaland semi-professional
recording environments for master recordings.
http://whatis.techtarget.com/definition/DAT-Digital-
Audio-Tape
This tape recording allows tracks recordedbyit
soundmore professional.
MIDI Stands for "Musical Instrument Digital Interface." It is a
connectivitystandard that musicians use to hook
together musical instruments (suchas keyboards and
synthesizers)and computer equipment. Using MIDI, a
MIDI is a useful tool for musicians whowant their
songs to be recorded in a better way. It allows
them to automaticallysave the notes theyhave
been playingas well as the instrument used.
7. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
7
musiciancaneasilycreate andedit digitalmusic tracks.
The MIDI system records the notesplayed, the lengthof
the notes, the dynamics (volume alterations), the
tempo, the instrument being played, andhundreds of
other parameters, calledcontrol changes.
http://techterms.com/definition/midi
Software Sequencers In digital audiorecording, a sequencer is a program in a
computer or stand-alone keyboardunit that puts
together a sound sequence froma series (or sequence)
of MusicalInstrument DigitalInterface ( MIDI ) events
(operations).
http://whatis.techtarget.com/definition/sequencer
Sequencer, just like anyof MIDI instruments, allows
musicians to record music digitally.
Software Plug-ins Software that is installedinto anexisting applicationin
order to enhance its capability. For example, plug-ins are
widelyused in image editing programs suchas
Photoshopto addsome specialeffect. Plug-ins are
added to Webbrowsers to enable them to support
different types of content (audio, video, etc.). The term
is widelyusedfor software, but canalsorefer to a plug-
in module for hardware.
http://www.pcmag.com/encyclopedia/term/49395/plug
-in
Software plug-ins canincreasethe efficiencyof a
browser, for example making some of the features
to be available to use (small programmes on
websites which require java plug-in) or improving
others.
MIDI Keyboard Instruments A MusicalInstrument Digital Interface (MIDI) keyboardis
a musicalinstrument like a piano keyboard. The MIDI
portionindicates that the instrument has a
communicationprotocol built inthat allows it to
communicate witha computer or other MIDI-equipped
instrument.
http://www.wisegeek.com/what-is-a-midi-
keyboard.htm
MIDI keyboards, unlike the regular keyboards, are
able to connect withcomputer sothe data of the
music played is easilysaved anddigitalised.
AUDIO SAMPLING File Size Constraints - Bit-depth In digital audio, bit depthdescribes the potential
accuracyof a particular piece of hardware or software
that processes audiodata. In general, the more bits that
are available, the more accurate the resulting output
from the data being processed.
Bit depthfor audiofiles works inthe same wayas
for picture files: more bits available make the music
soundmore like anoriginaltrack we meant to
record. And lessthana robotic ‘beeping’ (unless we
intendedto make it)
8. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
8
Bit depthis frequentlyencounteredinspecifications for
analog-to-digital converters ( ADCs) anddigital-to-
analog converters ( DACs), whenreading about
software plug-in , andwhenrecording audiousinga
professional medium suchas a digitalaudio workstation
or a Digital AudioTape machine.
http://whatis.techtarget.com/definition/bit-depth
File Size Constraints - Sample
Rate
In developing an audio soundfor computers or
telecommunication, the sample rate is the number of
samples ofa sound that are takenper secondto
represent the event digitally.
The more samplestaken per second, the more accurate
the digital representation ofthe soundcan be.
http://whatis.techtarget.com/definition/sample-rate
Higher sample rate ofthe recording makes it sound
more accuratelyto anoriginal data and therefore it
raised its quality.
In order to make mytracks soundmore realistically
I needto make sure theydo have a highsample
rate.