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7

First off, your understanding of the perception of directionality is a little flawed. Yes, "Interaural Time Difference" (ITD) affects our ability to localize, but so does "Interaural Level Difference" (ILD). Our brain makes use of both, because each lose effectiveness outside of certain frequency ranges. We need both mechanisms to localize across the ...


5

The simple answer is no. If you make air move, in the audio range of humans, and not too quiet, then there is no duration short enough that it can't be heard. And a millisecond is a very long period of time for the human ear to react to a sound. Your options are: use ultrasound, as you mentioned use very low volume (may or may not work for you) accept ...


4

Your interpretations of the examples make sense to me. I think sound can carry spatial information (we can usually tell where a sound comes from, and in what kind of space it is), and vision can carry time information (all movement indicates time). But i think the way we use our senses is the cause of the bias that Chion speaks of. For example, if we hear a ...


4

I guess is not done often because mono compatibility concerns. Delay introduces all sort of phase issues. Mono is important in broadcast.


3

Ask for a gameplay video showing different scenarios in game and start working on sounds on top of that video. I've found it's much easier in most cases than trying to describe things just with words. Later you can use this video to show the client how you would have implemented the sounds in game. If possible getting an unfinished version of the game could ...


3

Well, isn't this a case of mainly matching the convention? If it's established, then it's effective, even if it has no rational reason. When you think of it, another way to convey past would be some sounds or music that are recognized as belonging to a certain time period (that's in the past. It can be even the film's past, i.e. the reference is made to an ...


2

While booming with a 5++ meter boom time passes very slowly. ;)


2

take the headphones off and everything goes back to the way it should be...


1

You're not gonna like this. The only for-sure way of lining up audio files is to have them All the same length to begin with, including the silences. So when you record them, make sure you start from zero with each file, even if it only has one bleep five minutes in! Lining up varying length soundfles is a nightmare otherwise. Yours respectfully Chris


1

I don't think anyone would advise you to migrate your tracks/stems using the mp3 format.. especially when using them with uncompressed files in the same project. Not forgeting the loss of quality/imagery in your production. Recommend mp3 only as a final mix format for distrobution on iTunes etc..


1

It has to do with the MP3 codec algorithm. I don't know the exact science behind it but it's something you have to deal with when using MP3's because it can't be prevented.


1

I always say, when in doubt supply options. I'm not sure if that will completely help your problem. But just offer lots of options when it comes to sound design elements.


1

Ask them for a few (like 3) references for games they are playing that are roughly similar to the game they are making. Go play those games and make video captures. Copy some of the key sounds you think would work from the reference games. Use these copies as a starting point for your new original work. Keep in mind that everyone needs to hear the sounds in ...


1

The best advice I can give is to ask questions. As a sound designer, you are the subject matter expert when it comes to designing a sound, not the client. The client may very well not know what they want. Ask about what the purpose of the sound is. Provide feedback and ideas on how that need can be met. Listen to their responses and flush out what it is ...


1

Yeah I think the 'distance' notion is a good observation actually. To some degree flashback reverb has become a universal pneumonic device for audiences, so it's an 'easy sell' to some degree - and especially in the case of the TV world where subtly doesn't always sell, a dialogue reverb really helps the juxtaposition pop clearly. This is my though at ...


1

Perhaps it's worth trying the demo of Wave-arts Panorama 5. It uses the HRTF technique which Shaun describes plus what it calls "acoustic environment modeling". I've been meaning to give it a try myself. I think this technique is computationally too expensive to replace conventional panning on every track of your Daw, and probably less useful for music based ...


1

Yes, you can get "ghost" audio entries in EDL's. It can happen when graphics screens (i.e. titles, lower thirds, etc.) are created within the editing software, when slugs or full screen colors are dropped on the timeline, or if there's B-roll/L-cuts happening. And all of that can depend on... The fact that there are also multiple formats of EDL's, which all ...


1

2-3 am sunday morning is by far the quietest in Denmark where I live. But it becomes extreme when there's snow. Showing at 2-3 am sunday morning? I've never heard so much nothing.


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