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Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema [Format Kindle]

David Sonnenschein
5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)

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Descriptions du produit

Présentation de l'éditeur

Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 708 KB
  • Nombre de pages de l'édition imprimée : 255 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0941188264
  • Editeur : Michael Wiese Productions; Édition : 1 (25 octobre 2001)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B003FQM2XY
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Non activé
  • Composition améliorée: Non activé
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: n°203.969 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)

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Commentaires en ligne

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Commentaires client les plus utiles
5.0 étoiles sur 5 Awesome 13 mars 2013
Par pr.markt
Format:Format Kindle|Achat vérifié
Useful and packed with valuable information, as well as easy to read with a friendly style. Highly recommended. Thanks a lot!
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5.0 étoiles sur 5 excellent 13 mars 2013
Par pr.markt
Format:Broché|Achat vérifié
Useful and packed with valuable information, as well as easy to read with a friendly style. Highly recommended. Thanks a lot!
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Commentaires client les plus utiles sur Amazon.com (beta)
Amazon.com: 4.7 étoiles sur 5  60 commentaires
19 internautes sur 19 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Bible of Aural Excitment 7 avril 2005
Par Amazon Customer - Publié sur Amazon.com
If you can only afford to purchase one book on Sound Design, This is the ONE.

The author's writing style is easy to read and flows well. You may only get stumped on concept from time to time.

Sonnenschein not only shows the creative side but also the business side in presenting yourself to the director and/or producer.

Some of things that he explains involve how contrast works, changing frequency (EQ'ing) to enhance moods, mapping out the script, searching for the writer's sound clues, consistency, and building your sound library.

The book won't teach you how to mix or what specific software tools to use but it will encourage you to expand your creative side with the tools you do have.

This book is recommended for those who have a background, or some experience, with sound and audio editing who want to move into the realm of sound design.
15 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 For all film/video professionals, not just audio technicians 29 mars 2003
Par Larry Feign - Publié sur Amazon.com
This is one of the most eye (I mean EAR) opening and fascinating books I have looked at for a long time. I am an animation producer, and admittedly have always taken a hit-and-miss, often formulaic approach to sound as something secondary in importance to the visuals. This book changed my thinking. It provides a clear foundation in the narrative power of sound and music, is written with great insight and passion, and includes thought-provoking and playful exercises that you can't resist trying!
19 internautes sur 20 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Meet the Author: David Sonnenschein 26 novembre 2008
Par Michael Wiese - Publié sur Amazon.com
Author and sound designer David Sonnenschein gives some examples of how sound design enhances the movie-going experience.
12 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Oracle of Sound 18 août 2003
Par Darren Leigh Purkiss - Publié sur Amazon.com
This is a fantastic book. David Sonnenschein is an oracle of sound. I really like the way that he covers both the commercial applications of designing sound and music for Film & Media and also the creative and even spiritual dimensions of working with sound & music. Speaking as someone who works within this sector, if one day I have anything like the understanding of sound, that Sonnenschein has, I will be a happy man !
From the effects of mantras, ragas and the subconscious chantings of the american indians to voice overs, step by step guides on building sound designs, advice on how to conference with directors, the film industry and a whole range of practical and technical applications within the field - this is a truly comprehensive book. Written by a man with an obvious glut of knowledge and experience right accross the board.
If you are new to sound design get this book - it is easy to read, accessible and extremely informative. If, on the other hand, you are an experienced musician or sound designer get this book - you will learn things that you may not have even considered before and find the inspiration to try new things.
If you work or are interested in working in this field - I cant recomend it enough. Carry it with you on the train, have it handy in the studio, go to bed with it under your pillow !
Just get it.
15 internautes sur 17 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Review of 'Sound Design' from Microfilmmaker.com 18 novembre 2005
Par Jeremy T. Hanke - Publié sur Amazon.com
One of the least understood fields of expertise in either low-budget or big-budget filmmaking is the area of sound design. Because it is equally overlooked on both the high end and the low end, we on the ultra low end can gain the most benefit and even make our production quality superior to that of current Hollywood by mastering it.

What is sound design, you may ask? Sound design, to put it in a nutshell, is orchestrating all the sound elements that are not dialogue in your film. Often this doesn't even include music, but focuses, rather, on sound effects, ambience, and other forms of sound texture. Because audio quality has been so limited for so long in theaters, many producers simply wouldn't budget much money for the art of sound design, figuring that it had to overlap with the dialogue recorder or score composers roles. THX and Dolby 7.1 and other high end sound options are now available, but most films never come close to taking advantage of their abilities because of how under-utilized sound design is.

Mr. Sonnenschein points out that if sound design were given the same time as designing the lighting and cinematographical look, huge amounts of money would be saved in the making of films and the films themselves would be much more psychological. As I read that, I thought of two excellent examples of that: the gunshot in American Beauty and the rape sequence in A Time to Kill. Both sequences would have been costly to shoot and would have lost much of their psychological impact if they had been shown rather than heard!


Sound Design is foremost written to people who are looking to get into it as a career or are the types of directors that want to be responsible for all of the signature essences of their film (known as 'auteurs'). Because it's designed for audio people, I wanted to review this book and see how it relates to a director, especially a low-budget director that needs to be aware of all of these sorts of things because you're probably not going to be able to afford a sound designer who can do all these things at the type of budget most of us have to work at.

Mr. Sonnenschein has worked all over the world honing his craft of audio comprehension and design and, as such, he starts a little out there for a lot of us. However, once you get past the rather esoteric beginning, you'll find the rest of the book is actually pretty easy to understand. This does not mean that you'll be able to half-read this and get most of the content. No, you will need to focus on it. Even if you're an audio person by trade, Mr. Sonnenschein's writing style is not the type that you will just absorb like water, rather it is something you'll absorb slowly, as you allow it to soak in.

The tests and trials included in this book also do a nice job to help you comprehend the ideas and see how astute you are at paying attention to the sound canvas in your own world.

Depth of Information

There's a lot of information to be had, so long as you realize what the information is about. This is not a book to pick up if you want to know what level to record your dialogue with or how far back the shotgun mic should be placed. And while it does dovetail into music and sound score as point and counter point to the sound design, this is not its primary source of information. Where the depth comes in is in understanding how sound tapestry can truly change and add depth to your movie. How can an inverted sound effect give you a better audience response than an actual sound effect? How can a completely different sound effect work as a brilliant transition? (Just think of the scene in Fight Club where the Narrator's boss tosses a file folder in front of the Narrator, only to hear the sound of a water drop in a bathtub rather than the slap of paper on oak!)

Once you understand the work that's being delved into, you will find a lot of dense information and helpful ways of looking at the world of audio. As a director, I really found that this book made me think of my upcoming films in different ways-ways that specifically looked to capitalize on sound! After all, creative use of sound can really transform your film and it's a whole lot cheaper than $300,000 worth of pyrotechnics or $3 million dollars worth of futuristic special effects!

Interest Level

Once you get past the rather slow beginning, Sound Design does a pretty good job of keeping your interest level up for the most part. It uses inserts from sound designers from the Raiders of the Lost Ark to Terminator 2 to give real-world examples of where each of the topics in the book come into play. It also uses experiments that test your hearing and creativity to keep up the interest.


This is definitely a necessary book for any sound designer and/or director to have on his or her bookshelf, as the depth of information is excellent but a bit overwhelming for perfect retention. As such, you'll find yourself going back to the book again and again to refresh your memory or to explain what you're looking for to an assistant or (in the case of directors) to your sound designer.

Value vs. Cost

For just a under $20, Sound Design is an excellent investment. It's got enough information in to easily justify the cost at any level. If you're going into the world of audio and sound design, you should pick this up immediately. If you're a director, this would be a good investment because it'll get you thinking of both visual AND audio impact in the pre-production of your film, which will save you time and money.

Overall Comment

This is a quite a good book that focuses on the intricacies of sound design and inspires creativity and exploration. While it has a few areas that get a little scattered and a few slow parts, it stays consistently interesting and relevant enough to keep you through to the end...and has enough left in reserve to keep you coming back.

Understandability - 8

Depth of Information - 8

Interest Level - 7.5

Reusability - 9.0

Value vs. Cost - 9.0

Total Score - 8.3

Reviewed by Jeremy Hanke

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