Sound effect

A sound effect (or audio effect) is an artificially created or enhanced sound, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media. In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. Traditionally, in the twentieth century, they were created with Foley. The term often refers to a process applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, often are called "sound effects". This area and sound design have been slowly merged since the late-twentieth century. The term sound effect dates back to the early days of radio. In its Year Book 1931 the BBC published a major article about "The Use of Sound Effects". It considers sound effects deeply linked with broadcasting and states: "It would be a great mistake to think of them as anologous to punctuation marks and accents in print. They should never be inserted into a programme already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of equal value with speech and music." It lists six "totally different primary genres of Sound Effect": Realistic, confirmatory effect Realistic, evocative effect Symbolic, evocative effect Conventionalised effect Impressionistic effect Music as an effect According to the author, "It is axiomatic that every Sound Effect, to whatever category it belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could not be justified.

Ultrabroadband sound control with deep-subwavelength plasmacoustic metalayers

Romain Christophe Rémy Fleury, Hervé Lissek, Stanislav Sergeev

Controlling audible sound requires inherently broadband and subwavelength acoustic solutions, which are to date, crucially missing. This includes current noise absorption methods, such as porous materials or acoustic resonators, which are typically ineffic ...

2023

PID-like active impedance control for electroacoustic resonators to design tunable single-degree-of-freedom sound absorbers

Hervé Lissek, Maxime Volery, Xinxin Guo

Sound absorption at low frequencies still remains a challenge in both scientific research and engineering practice. Natural porous materials are ineffective in this frequency range, as well as acoustic resonators which present too narrow bandwidth of absor ...

2022

Type-Preserving Compilation of Class-Based Languages

Ultrabroadband sound control with deep-subwavelength plasmacoustic metalayers

PID-like active impedance control for electroacoustic resonators to design tunable single-degree-of-freedom sound absorbers