number 3 chapter 1 will be one of the main sources and has given inspiration for some tasks
http://www.gameaudioimplementation.com/downloads.php downloads for game demos to add and manipulate audio in
A useful journal on game audio and creating a world and soundscape and the positions of sound
Heeter, C., and Gomes, P. 1992. It’s time for hypermedia to move to talking pictures. Journal of Educational http://dx.doi.org/10.1017/S1355771803000074 http:/www.cambridge.org/core/terms.180 Stephan Schütze Multimedia and Hypermedia, winter. http://commtechlab. msu.edu /publications /files /talking.html#Sound as Computer Feedback Holman, T. 1997. Sound for Film and Television. Boston: Focal Press. Marks, A. 2001. The Complete Guide to Game Audio. Lawrence, KS: CMP Books. Randel, D. M. 1986. The New Harvard Dictionary of Music, Cambridge, MA: Harvard University Press. Yewdall, D. L. 1999. Practical Art of Motion Picture Sound. Woburn, MA: Focal Press.
a list of references used in the journal posted above
A Sound Feedback Style Scenario
The human environment is full of meaningful auditory information: doors closing, keys turning, pen caps opening, feet hitting the ground, cars accelerating, typewriters clacking, phones dialing and ringing, water running, etc. These sounds provide feedback and information about human actions and the external world. Turning off all sound creates a world that feels more distant and requires greater visual processing to confirm, interpret and notice events which normally wouldnÍt require much thought or attention.
Common computer applications have focussed almost exclusively on visual channels. In designing prototypical hypermedia applications to explore the potential of the medium, the Comm Tech Lab has developed and studied a style of incorporating sound into computer environments based on five general guidelines:
- 1. There should be an auditory response to every command issued by the user (mouseClick or menu driven).
- 2. These auditory responses should be as richly diverse as are images and typefaces in elegant designs.
- 3. The language of sounds chosen should be meaningful in some way: if possible, related to or representing the function performed or strengthening a metaphor.
- 4. Within an application or segment of an application, there should be consistency (not sameness but a relationship) across the sounds used for different functions.
- 5. A particular function should have a single sound, even if that function appears in several different places in the application.
Sounds used may be short clips of music, recognizable real-world sound effects, interesting noises, or brief speech. In general they should be short and unobtrusive, but distinctive.
Theories from the fields of communication, psychology, education and human interface design can all be applied to justify and explain expected benefits of the proposed sound feedback style of hypermedia design.
taken from http://commtechlab.msu.edu/publications/files/talking.html#Sound as Computer Feedback It’s Time for Hypermedia to Move to Talking Pictures by Carrie Heeter and Pericles Gomes.
Published in the Journal of Educational Multimedia and Hypermedia, winter, 1992.