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{{Short description|Sound track creation}}
{{original research|date=May 2008}}
'''Sound design''' is the art and practice of creating
==History==
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===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
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]] used to interact with diverse devices. The first show to fully utilize the MSC specification was the [[Magic Kingdom Parade]] at [[Walt Disney World]]'s [[Magic Kingdom]] in September, 1991.
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 a plethora of techniques in "dynamic audio"
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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===Film===
{{See also|Sound editor (filmmaking)|Foley artist|Director of audiography}}
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
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 what was essentially the same position: the head designer of the final sound track. Editors and mixers like Murray Spivack (''King Kong''), George Groves (''The Jazz Singer''), James G. Stewart (''Citizen Kane''), and Carl Faulkner (''Journey to the Center of the Earth'') served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name.
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https://web.archive.org/web/20211008071530/https://professional.dolby.com/content-creation/Dolby-Atmos-for-content-creators/2 |url-status=live}}</ref>
* Some directors were interested in realizing the new
* Filmmakers were inspired by the [[popular music]] of the era. [[Concept albums]] of groups such as [[Pink Floyd]] and [[The Beatles]] suggested new modes of storytelling and creative techniques that could be adapted to motion pictures.
* New filmmakers made their early films outside the [[Cinema of the United States|Hollywood]] [[the establishment|establishment]], away from the influence of film [[labor union]]s and the then rapidly dissipating [[studio system]].
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