11: References

  1. Walter Murch Interviews Anne V Coates, EditorsNet , 2000.
    Engines of Creation: an Overview of Games Engines, Jon Jordan, http://www.gamasutra.com ,2008
    Fmod, Interactive Audio Middleware, http://www.fmod.org, 2011
    Who Is Using Wwise, http://www.audiokinetic.com, 2011
    Collins Karen, Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design,  2008
    Bridgett Rob, From the Shadows of Film Sound, 2010
    Sander Huiberts, Richard van Tol. IEZA: A Framework For Game Audio. http://www.gamasutra.com 2008
    Burtt Ben, The Emotional Sounds Of Star Wars, http://www.filmsound.org, 2007
    Jarrett Michael, Sound Doctrine : An Interview With Walter Murch, Penn State University, SUNY, 1999
    Codemasters, Operation Flashpoint:Dragon Rising DVD box, 2009
    Napolitano Jayson, Dead Space Sound Design: In Space No One Can Hear You Scream They Are Dead, http://www.originalsoundversion.com 2008
    Carlson Sven, Glosseries, http://www.filmsound.org,  2004
    Lampert Mark. Fallout 3: The Sound Of Silence, http://www.Gamespy.com (2008)
    SoundByte: L.A. Noire Soundtrack, http://www.GameSpot.com, 2011
    Szczepkowsk Steve, SoundByte: Meet The Composer Of “Deus Ex: Human Evolution” http://www.GameSpot.com, 2011
    Calbi Gregg, Mastering Engineer Greg Calbi on Compression and the Loudness War in Mastering, http://www.artisthousemusic.org 2006
    Bridgett Rob, The Future of Game Audio, Is Interactive Mixing The Key 2008
    Deruty Emmanuel, How the ear works and why it matters, Sound On Sound, March 2011
    Collins Karen. Glossary of Game Audio. http://www.gamessound.com 2008
    Bridgett Rob, The Game Audio Mixing Revolution, http://www.gamasutra.com 2010
    Murch Walter, Dense Clarity Clear Density, The Transom Review, transom.org, 2005
    Berman I.W. Musical Functioning, Speech Lateralization and the Amusias , South Africa Medical Journal, 1981
    Vignolo Luigi A, Music Agnosia and Auditory Agnosia Dissociations in Stroke Patients, 25125,University of Brescia, 2003
    Sancar Feyza, Music and the Brain: Processing and Responding, http://serendip.brynmawr.edu/bb/neuro/neuro99/web1/Sancar.html, 1999
    DeBevoise Allen, Cercel Elif, Interview with Gary Rydstrom, Sound Designer, “Saving Private Ryan”, http://www.filmsound.org, 1998
    Freeman Will, Opening The DAW, page 43, Develop Magazine, Issue 121, 2011
    Broomhall John, A Wwise Choice, Develop, http://www.develop-online.net/features/896/A-Wwise-choice, 2010
    Wwise Soundseed Tutorial, http://www.audiokinetic.com
    Wwise Side-Chaining Tutorial, http://www.audiokinetic.com
    Lampert Mark. The Sound Guy, Fallout 3 A Post Nuclear Blog. http://fallout3.wordpress.com/2007/05/25/the-sound-guy/ 2007
    Broomhall John, Heard About: Batman Arkham City, Develop, http://www.develop-online.net/features/1478/Heard-About-Batman-Arkham-City, 2011
    Spanos George, Interview with Vance Dylan,  Designing sound,www.designingsound.org 2010Bridgett Rob, Dynamics of Narrative, http://www.gamasutra.com, 2009
    Lampert Mark. The Sound Guy, Fallout 3 A Post Nuclear Blog. http://fallout3.wordpress.com/2007/05/25/the-sound-guy/ 2007
    No author named, Film Sound, Stems and Foley, Post Script Media, http://www.psmedia.com 2009

    Soundworks Collection, ‘Black Swan: Sound Design Aesthetic’ 2011

    Jackson Blair, SFP: Watchmen, Mix: Professional Audio & Music Production, 2009,  http://mixonline.com/post/features/sfp-watchmen/index1.html

    Riehle Jake, “No country For Old Men”  Exclusive Interview with Sound Designer Berkey Craig, Designing Sound, 2007
    No author named, Film Sound, Stems and Foley, Post Script Media, http://www.psmedia.com, 2009

    FMOD Designer User Manuel Firelight Technologies,2005-2009


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