Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post production
Digital audio took its first, tentative steps towards widespread acceptance over forty years ago with the adoption of the Compact Disc as a de facto standard for auditioning music, with cinema embracing digital encoding and reproduction a decade later. Somehow, broadcast audio production and post production processes managed to remain some distance behind. But coinciding with television broadcasters worldwide adopting radically new soundtrack loudness standards, sound for all moving pictures may now be described as being universally serviced in the digital domain. Television's place in this digital jigsaw has accelerated product development and the take up of affordable audio technology by contemporary sound practitioners, and mature digital recording and production methods are being replaced by modern techniques, tools and protocols along with a questionable assumption in some quarters of moving picture production, that irrespective of budget, experience or technical training, anyone can now create an