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{{Short description|Sound track creation}}
{{original research|date=May 2008}}
'''Sound design''' is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is employed in a variety of disciplines including [[filmmaking]], [[television production]], [[video game development]], [[theatre]], [[sound recording and reproduction]], [[Concert|live performance]], [[sound art]], [[post-production]], [[Radio broadcasting|radio]], [[New media art|new media]] and [[musical instrument]] development. Sound design commonly involves performing (see e.g. [[Foley (filmmaking)|
==History==
{{See also|Prehistoric music}}
The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in [[prehistoric]] times
[[File:KDujardinsCommedia.jpg|thumb|A musician at a ''commedia dell'arte'' show (Karel Dujardins, 1657)]]
Plays were performed in medieval times in a form of theatre called ''[[Commedia dell'arte]]'', which used music and sound effects to enhance performances. The use of music and sound in the [[English Renaissance theatre|Elizabethan Theatre]] followed, in which music and sound effects were produced off
Italian composer [[Luigi Russolo]] built mechanical sound-making devices, called "[[intonarumori]]," for [[futurism (music)|futurist]] theatrical and music performances starting around 1913. These devices were meant to simulate natural and man-made sounds, such as trains
===Recorded sound===
Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890.<ref>{{cite book | last = Booth | first = Michael R. | year = 1991 | title = Theatre In The Victorian | publisher = Cambridge University Press | isbn = 0-521-34837-4 }}</ref> Sixteen years later, [[Herbert Beerbohm Tree]] used recordings in his London production of [[Stephen
Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their [[Sound Design Commission]] to define the duties, responsibilities, standards and procedures
===Digital technology===
[[File:Tainted blue studios control room.jpg|thumb|Modern digital control room at Tainted Blue Studios, 2010]]
[[Musical Instrument Digital Interface|MIDI]] and [[digital audio]] technology have contributed to the evolution of sound production techniques in the 1980s and 1990s. [[Digital audio workstation]]s (DAW) and a variety of digital signal processing algorithms applied in them allow more complicated soundtracks with more tracks
In [[theatre sound]], features of computerized theatre sound design systems have also been recognized as being essential for live [[show control]] systems at [[Walt Disney World]] and, as a result, Disney utilized systems of that type to control many facilities at their ''[[Disney's Hollywood Studios|Disney-MGM Studios]]'' theme park, which opened in 1989. These features were incorporated into the [[MIDI Show Control]] (MSC) specification, an open [[communications protocol]]
The rise of interest in game audio has also brought more advanced interactive audio tools that are also accessible without a background in computer programming. Some of such software tools (termed "implementation tools" or "audio engines") feature a workflow that's similar to that in more conventional DAW programs and can also allow the sound production personnel to undertake some of the more creative interactive sound tasks (that are considered to be part of sound design for computer applications) that previously would have required a computer programmer. Interactive applications have also given rise to
The [[World Wide Web]] has greatly enhanced the ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more "believable" sounds as opposed to toiling through time- and budget-draining "shot-in-the-dark" searches through record stores, libraries and "the grapevine" for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of a [[DIY|DIY (or "do-it-yourself")]] approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director.
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In motion picture production, a ''Sound Editor/Designer'' is a member of a [[film crew]] responsible for the entirety or some specific parts of a film's soundtrack.<ref>{{cite web|title=Sound designer|url=http://filmsound.org/terminology/designer.htm|website=FilmSound.org|access-date=13 October 2015}}</ref> In the [[Cinema of the United States|American film industry]], the title ''Sound Designer'' is not controlled by any [[professional organization]], unlike titles such as [[film director|Director]] or [[Screenwriter]].
The terms ''sound design'' and ''sound designer'' began to be used in the motion picture industry in 1969. At that time, The title of ''Sound Designer'' was first granted to [[Walter Murch]] by [[Francis Ford Coppola]] in recognition for Murch's contributions to the film ''[[The Rain People]]''.<ref>{{cite book |last1=Ondaatje |first1=Michael |last2=Murch |first2=Walter |title=The conversations: Walter Murch and the art of editing film |date=2003 |publisher=Bloomsbury |location=London |page=53}}</ref> The original meaning of the title ''Sound Designer'', as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the [[dialogue]] and [[sound effects]] recording to the [[re-recording (sound/film)|re-recording]] (mix) of the final track".<ref name=reeves>{{cite web|last1=Reeves|first1=Alex|title=A Brief History of Sound Design|url=http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|website=Advertising Week Social Club|publisher=Advertising Week|access-date=13 October 2015|url-status=bot: unknown|archive-url=https://web.archive.org/web/20160304084311/http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|archive-date=4 March 2016}}</ref> The term ''sound designer'' has replaced monikers like ''supervising sound editor'' or ''re-recording mixer'' for
The advantage of calling oneself a sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in a manner similar to that of [[Production Designer]], which was created in the 1930s when [[William Cameron Menzies]] made revolutionary contributions to the craft of [[art director|art direction]] in the making of ''[[Gone with the Wind (film)|Gone with the Wind]]''.<ref>{{cite web|last1=Bordwell|first1=David|title=William Cameron Menzies: One Forceful, Impressive Idea|url=http://www.davidbordwell.net/essays/menzies.php|website=davidbordwell.net|access-date=13 October 2015}}{{sps|date=July 2016}}</ref>
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====Musicals====
Sound design for [[musical theatre|musicals]] often focuses on the design and implementation of a sound reinforcement system that will
====Plays====
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====Professional organizations====
* [[Theatrical Sound Designers and Composers Association|Theatrical Sound Designers and Composers Association (TSDCA)]]
* The [[Association of Sound Designers]] is a trade association representing theatre sound designers in the UK.
* [[United Scenic Artists]] (USA) Local USA829, which is integrated within [[IATSE]], represents theatrical sound designers in the United States.
* Theatrical Sound Designers in English Canada are represented by the Associated Designers of Canada (ADC), and in Québec by l'Association des professionnels des arts du Québec (APASQ).
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===Computer applications and other applications===
Sound is widely used in a variety of [[human–computer interface]]s, in [[computer game]]s and [[video game]]s.<ref>{{cite conference | first1 = Viviane | last1 = Gal | first2 = Cécile | last2 = Le Prado | first3 = J. B. | last3 = Merland | first4 = Stéphane | last4 = Natkin | first5 = Liliana | last5 = Vega | title = Processes and tools for sound design in computer games | book-title = Proceedings of International Computer Music Conference | location = Goetborg | date = September 2002 | citeseerx = 10.1.1.78.5543 }}.</ref><ref>{{cite web | first1 = Olivier | last1 = Veneri | first2 = Stéphane | last2 = Natkin | first3 = Cécile | last3 = Le Prado | first4 = Marc | last4 = Emerit | title = A Game Audio Technology Overview | url = http://www.smcnetwork.org/files/proceedings/2006/10-A_Game_Audio_Technology_Overview.pdf | access-date = 2011-02-22 | archive-date = 2011-07-28 | archive-url = https://web.archive.org/web/20110728031826/http://www.smcnetwork.org/files/proceedings/2006/10-A_Game_Audio_Technology_Overview.pdf | url-status = dead }}</ref> There are a few extra requirements for sound production for computer applications, including
Sound design for [[video games]] requires proficient knowledge of audio recording and editing using a [[digital audio workstation]], and an understanding of game audio integration using audio engine software, audio authoring tools, or middleware to integrate audio into the game engine. Audio middleware is a third-party toolset that sits between the game engine and the audio hardware. <ref>{{cite web|url=https://www.yannisbrown.com/about-audio-middleware/|title=About Audio Middleware|date=9 March 2016 |access-date=January 6, 2022|archive-date=May 30, 2021|archive-url=https://web.archive.org/web/20210530213513/https://www.yannisbrown.com/about-audio-middleware/|url-status=live}}</ref>
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==Awards==
Sound designers have been recognized by awards organizations for some time, and new awards have emerged more recently in response to advances in sound design technology and quality. The [[Motion Picture Sound Editors]] and the [[Academy of Motion Picture Arts and Sciences]] recognizes the finest or most aesthetic sound design for a film with the Golden Reel Awards for Sound Editing in the film, broadcast, and game industries, and the [[Academy Award for Best Sound]] respectively. In 2021, the 93rd Academy Awards merged Best Sound Editing and Best Sound Mixing into one general Best Sound category. In 2007, the [[Tony Award for Best Sound Design]] was created to honor the best sound design in American theatre on [[Broadway theatre|Broadway]].<ref>{{cite news | title = Starting in 2007-08, Sound Designers Will Be Recognized by Tony Awards | url = http://www.playbill.com/news/article/108956.html | date = 19 Jun 2007 | first = Kenneth | last = Jones | work = Playbill.com | access-date = 2008-06-23 | archive-url = https://web.archive.org/web/20070626051746/http://www.playbill.com/news/article/108956.html
North American theatrical award organizations that recognize sound designers include these:
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* [[Musique concrète]]
* [[IEZA Framework]] – a framework for conceptual game sound design
* [[Video production]] - in connection with short music films
==References==
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