Difference between revisions of "Sound Layers and Semantics"
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| rel3=[[Acoustic Ecology]]<br> | | rel3=[[Acoustic Ecology]]<br> | ||
| revisions =Introduced in version 1.0 | | revisions =Introduced in version 1.0 | ||
| + | | description= | ||
| + | Sounds can be structured in layers according to its semantics and communicative purpose. The layers are: [[Ambiance]], [[Foley]], [[Sound Effects]], [[Dialog]], and [[Music]] [http://www.example.com Peck, 2001, 2007]. | ||
| + | According to [[The overall mindset|mindset]] and guidelines[http://www.example.com link title] on the basis of the work here presented, the explorations of [[Sound Design in Games]] benefit from considering all these layers in a holistic manner that may allow to produce an [[Acoustic Ecology]] rather then a superimposition of sounds. | ||
| + | |||
| external= | | external= | ||
Peck, N., Beyond the library: Applying film postproduction techniques to game sound design. in Proc. of Game Developers Conference, (San Jose CA, USA, 2001).<br /> | Peck, N., Beyond the library: Applying film postproduction techniques to game sound design. in Proc. of Game Developers Conference, (San Jose CA, USA, 2001).<br /> | ||
Peck, N. CoFesta/TGS Tokyo, Japan.(2007) | Peck, N. CoFesta/TGS Tokyo, Japan.(2007) | ||
| + | The presentation of the pattern in [pending] (Alves & Roque, 2010) | ||
| + | guidelines (Alves & Roque, 2009, 2011) | ||
}} | }} | ||
Revision as of 12:56, 17 August 2011
| The card's front face | The card's back face |
This design pattern has been classified as
an Aggregator Pattern after version 1.0
Consequently, it is no longer represented as a card
(i.e. ceased being part of the deck) since version 2.0
Synopsis
| Grouping design decisions according to their semantics. |
Relationships
Context:
Sound Design in Games 
.
Parts:
Ambiance 
, Foley 
, Sound Effects 
, Music 
, Dialogue 
.
Makes use of:
Acoustic Ecology 
.
Description
Sounds can be structured in layers according to its semantics and communicative purpose. The layers are: Ambiance, Foley, Sound Effects, Dialog, and Music Peck, 2001, 2007. According to mindset and guidelineslink title on the basis of the work here presented, the explorations of Sound Design in Games benefit from considering all these layers in a holistic manner that may allow to produce an Acoustic Ecology rather then a superimposition of sounds.
Examples
External Resources
Peck, N., Beyond the library: Applying film postproduction techniques to game sound design. in Proc. of Game Developers Conference, (San Jose CA, USA, 2001).
Peck, N. CoFesta/TGS Tokyo, Japan.(2007)
The presentation of the pattern in [pending] (Alves & Roque, 2010)
guidelines (Alves & Roque, 2009, 2011)
