Enhanced descriptions from Syndetics:

This nuts-and-bolts guide to sound design for animated films explains audio software, free downloads, how sound works, the power of sound when wielded by an animation filmmaker, and provides varieties of examples for how to use sound to enliven your films with professional sound. Sound-savvy animators save precious resources (time and money) by using sound for effects they don't necessarily have time to create. For example, the sound of a crow flying gives viewers a sense of the crow without the crow. Where there's a macabre element or scene in an animated film, this book explains why you should choose a low frequency sound for it-low frequencies are scary, because the ear can't decipher their origin or direction! On the DVD: three 5-minute animations; sample sound clips, jump cuts and video streams; plus motion graphics with which to practice sound-applications explained in this book.

Table of contents provided by Syndetics

• About the Author (p. xiii)
• Credits (p. xv)
• Acknowledgments (p. xvii)
• Introduction (p. xix)
• A Overview (p. xvii)
• B The Elements of a Sound Track
• C Scope of Book
• D Using This Book
• Section I Foundations and Theory (p. 1)
• Chapter 1 Foundations of Audio for Image (p. 3)
• A Physics of Sound (p. 3)
• 1 Overview (p. 3)
• 2 The Anatomy of a Sine Wave (p. 4)
• 3 Frequency (p. 4)
• 4 Amplitude (p. 5)
• 5 Timbre (p. 7)
• 6 The Volume Envelope (p. 7)
• 7 Wavelength (p. 8)
• 8 Speed of Sound (p. 8)
• B Perception of Sound (p. 9)
• 1 Hearing Versus Listening (p. 9)
• 2 Defining a Space (p. 9)
• 3 Stereo Imaging (p. 10)
• 4 Rhythm and Tempo (p. 10)
• 5 Noise (p. 10)
• 6 Silence (p. 12)
• C Digital Audio (p. 12)
• 1 Capturing Audio (p. 12)
• 2 Sampling Rates (p. 12)
• 3 Bit-Depths (p. 14)
• 4 Linear Pulse Code Modulation (p. 15)
• 5 Multichannel Audio Compression (p. 15)
• 6 MPEG Layer 3 and aacPlus (p. 16)
• Chapter 2 Sound Design Theory (p. 17)
• A Overview (p. 17)
• B Sound Classifications (p. 17)
• C Differences in Visual and Audio Processing (p. 18)
• D Influence of Sound on Time Perception (p. 19)
• E Sounds influence on Spatial Perception (p. 19)
• F Drawing the Audience into the Narrative (p. 20)
• G Sound for Character Development (p. 20)
• H Plausibility Versus Reality (p. 21)
• I Metaphoric Sound (p. 21)
• J Off-Screen Sound (p. 22)
• K Tension and Release (p. 22)
• L Smoothing Visual Edits (p. 23)
• M Developing Continuity (p. 23)
• N Interpreting Picture Edits and Film Conventions (p. 23)
• O Guided Perception (p. 25)
• P Conclusion (p. 25)
• Section II The Stems: Dialog, Music, and Effects (DM&E) (p. 29)
• Chapter 3 Dialog (p. 31)
• A Overview (p. 31)
• B Narration (p. 31)
• C Historical Speeches (p. 32)
• D Synthetic Language (p. 32)
• E Dialog and Character Development (p. 32)
• F Dialog and Music (p. 33)
• G Historical Voice Talent in Animation (p. 33)
• H Casting Voice Talent (p. 33)
• I Working with Voice Actors (p. 34)
• J Recording Dialog (p. 34)
• K Microphones (p. 36)
• L Polar Patterns (p. 36)
• M Microphone Placement (p. 36)
• N Evaluating Recorded Dialog (p. 37)
• O Compositing and Editing (p. 39)
• P Synchronization (p. 39)
• Q Signal Processing (p. 40)
• 1 Corrective Measures (p. 40)
• 2 Sound Shaping (p. 41)
• 3 Futzing Voice-Over (p. 41)
• Chapter 4 Music (p. 43)
• A Overview (p. 43)
• B The Role of Music in Animation (p. 43)
• C Historical Figures in Animation Scoring (p. 44)
• D The Temp Track (p. 45)
• E Underscore (p. 45)
• F Source Music (p. 46)
• G Music Effects and Effects Scoring (p. 46)
• H Music for Emotional Treatment (p. 46)
• I Subtext Scoring (p. 47)
• J Music for Continuity and Time Perception (p. 47)
• K Music To Establish Setting and Scale (p. 47)
• L Acoustic and Synthetic Instrumentation (p. 48)
• M The Spotting Session (p. 48)
• N Creating an Original Score (p. 49)
• O Demonstrating the Score (p. 49)
• P Production Music Libraries (p. 50)
• Q Selected list of Production Libraries (p. 50)
• R Developing a Vocabulary for Scoring (p. 53)
• 1 By Emotion (p. 53)
• 2 By Musical Styles (p. 56)
• 3 By Cinematic Genre (p. 56)
• 4 By Musical Instrumentation (p. 56)
• S The Music Editor (p. 58)
• T Sound-Editing Terminology (p. 58)
• U Music Editing (p. 59)
• Chapter 5 Sound Effects (SFX) (p. 63)
• A Overview (p. 63)
• B Functions of SFX (p. 63)
• C Conceptualizing SFX (p. 64)
• D The History of SFX (p. 64)
• E SFX Spotting Session (p. 65)
• F Sources of SFX (p. 65)
• G Commercial SFX Libraries (p. 66)
• H Foley (Performance) Effects (p. 66)
• I Ambience (Backgrounds) (p. 67)
• J Searching and Auditioning SFX Libraries (p. 68)
• K The Vocabulary of SFX (p. 70)
• L Creating a Production SFX Library (p. 70)
• M Developing an Original SFX Library (p. 71)
• N Tools for Field Recording (p. 72)
• 1 Field Recorders (p. 72)
• 2 Field Microphones (p. 72)
• 3 Field Accessories (p. 75)
• O Suggestions for Recording in the Field (p. 76)
• P Location Request (p. 78)
• Q Studio Recording (p. 78)
• R Stereo Recording Techniques (p. 79)
• 1 Middle-Side (M/S) Stereo (p. 79)
• S SFX Editing and Sweetening (p. 81)
• T SFX Signal Processing (p. 82)
• U Synchronization (p. 82)
• Section III Arts Law (p. 85)
• Chapter 6 Developing a Legal Sound Track (p. 87)
• A Overview (p. 87)
• B Rights Versus License (p. 87)
• C U.S. Copyright Act of 1976 (p. 87)
• D Exclusive Rights Granted to Copyright Holders (p. 88)
• E Nonexclusive Rights (Fair Use) (p. 88)
• F Parody (p. 89)
• G Public Domain (p. 89)
• H Locating the Copyright Holder (p. 89)
• 1 U.S. Copyright Office (p. 87)
• 2 Performing Rights Organizations (p. 87)
• I Synchronization License (p. 90)
• J Master License (p. 91)
• K Mechanical License (p. 93)
• L Videogram License (p. 93)
• M Potential Consequences of Infringement (p. 93)
• N Frequently Asked Questions (p. 93)
• O Legal Terms (p. 96)
• P Obtaining Copyright Protection (p. 97)
• Q International Copyright Law (p. 97)
• Section IV Tools and Techniques (p. 99)
• Chapter 7 The Project Studio (p. 101)
• A Overview (p. 101)
• B Platform (p. 102)
• C Host Audio Application (p. 102)
• D Hard-Disk Recording (p. 103)
• E Waveform Editing (p. 103)
• F Automation (p. 104)
• G Desktop Media Players (p. 104)
• H MIDI Sequencers (p. 104)
• I Virtual Instruments: Synthesis and Sampling (p. 105)
• J Audio Encoding (p. 105)
• K DVD-V Authoring (p. 106)
• L Media File Exchange (OMFI and AAF) (p. 107)
• M Audio Interfaces (p. 107)
• N Control Surfaces (p. 108)
• O Audio Monitors (p. 108)
• P Video Monitors (p. 109)
• Q Audio Cables and Connectors (p. 110)
• R Media Drives (p. 111)
• Chapter 8 Signal Path and Signal Processing (p. 113)
• A Overview (p. 113)
• B Signal Path (p. 113)
• 1 Source Audio (p. 113)
• 2 Inserts (p. 114)
• 3 Sends (p. 114)
• 4 Prefade/Postfade (p. 115)
• 5 Auxiliary Inputs (p. 116)
• 6 Master Faders (Main Out) (p. 116)
• C Signal Processing (p. 116)
• 1 Plug-ins (p. 116)
• 2 Rendered Effects (p. 117)
• 3 Real-Time Effects (p. 116)
• 4 The Source-Quality Rule (p. 118)
• D Types of Signal Processing (p. 118)
• 1 Equalization (p. 119)
• 2 Compression (p. 120)
• 3 Reverb (p. 120)
• 4 Reverse (p. 121)
• 5 Pitch Shifting (p. 123)
• 6 Time-Scaling (p. 123)
• 7 Doppler (p. 123)
• 8 Noise Reduction (p. 124)
• Section V The Production Path (p. 125)
• Chapter 9 Preproduction (p. 127)
• A Overview (p. 127)
• B Phases of Pre-Production (p. 128)
• 1 Concept Development (p. 128)
• a Script Analysis: "Hearing Between the Lines" (p. 128)
• b Concept Art (p. 128)
• c Treatment (p. 130)
• d Understanding Genre (p. 130)
• 2 Storyboard (p. 130)
• 3 Developing the Temp Track and Pre-Score (p. 132)
• 4 Producing the Animatic (p. 132)
• 5 Enlisting a Sound Designer (p. 132)
• 6 Determining the Release Format (p. 133)
• 7 Developing an Audio Production Budget (p. 133)
• 8 Developing an Audio Production Schedule (p. 133)
• 9 Maintaining Synchronization (p. 135)
• 10 Project Management (p. 135)
• 11 Session Management (p. 136)
• 12 File Sharing (p. 136)
• Chapter 10 Production (p. 139)
• A Overview (p. 139)
• B Production Timeline for Two-Dimensional Animation (p. 139)
• C Production Timeline for Three-Dimensional Animation (p. 140)
• D The Evolving Workprint (p. 140)
• E Production Tasks for the Sound Designer (p. 140)
• 1 Audio Research (p. 141)
• 2 SFX Acquisition (p. 142)
• 3 Score Considerations (p. 142)
• 4 Temp Tracks (p. 142)
• 5 Built-Up (Sweetened) Sound Effects (p. 142)
• Chapter 11 Postproduction (p. 143)
• A Overview (p. 143)
• B Developing the Elements of a Sound Track (p. 143)
• C The Premixes (p. 143)
• D The Final Mix (Rerecording) (p. 144)
• E Understanding Channels and Loudspeakers (p. 144)
• G The Stereo Mix (p. 145)
• H The Multichannel Mix (p. 145)
• I Multichannel Panning (p. 146)
• 1 Panning Dialog in 5.1 (p. 146)
• 2 Panning SFX in 5.1 (p. 147)
• 3 Panning Ambience in 5.1 (p. 149)
• 4 Panning Music in 5.1 (p. 149)
• J Signal Processing at the Final Mix (p. 150)
• K Setting Mix Levels (p. 150)
• L Mastering (p. 150)
• M Suggestions for the Final Mix (p. 151)
• N Sound Characteristics of Various Release Formats (p. 151)
• 1 Mono Formats (p. 151)
• 2 Stereo Formats (p. 152)
• 3 Multichannel Formats (p. 152)
• O Sound Design and the DVD-V Menu (p. 153)
• P Creating a Release Print (p. 153)
• Section VI Case Studies (p. 155)
• Chapter 12 Case Study: A Trip to Granny's (p. 155)
• A Synopsis (p. 155)
• B Production Overview (p. 158)
• C The Dialog Stem (p. 158)
• D The Music Stem (p. 160)
• E The SFX Stem (p. 163)
• Chapter 13 Case Study: Sam (p. 173)
• A Synopsis (p. 173)
• B Production Overview (p. 173)
• C The Dialog Stem (p. 174)
• D The Music Stem (p. 174)
• E The SFX Stem (p. 176)
• Bibliography (p. 187)
• Index (p. 189)
• DVD Navigation Outline (p. 193)