The New Soundtrack (Online)

Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production
The New Soundtrack (Online) (2016) Vol. 6, No. 1, pp. 77-107

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 ...

Why use Linear Workflows with Non-linear Tools?
The New Soundtrack (Online) (2016) Vol. 6, No. 1, pp. 51-61

Although the technologies used to make films have changed completely during the 90-year life of sound film, the filmmaking workflow has remained strangely unaffected. We still make films as if they are shot on film that has to be developed ...

The Soundscapes of Conflict: A transcript of a talk by Nadim Mishlawi and Rana Eid presented at the School of Sound, London, on 10 April 2015
The New Soundtrack (Online) (2015) Vol. 5, No. 2, pp. np

This transcript follows on from Nadim Mishlawi's article published in The New Soundtrack, Vol. 2 No 2, 2012. It focuses on how the sounds of a cityscape, in this case Beirut, can help us identify and empathise with events which ...

Character as DJ: Melomania and Diegetically Controlled Music
The New Soundtrack (Online) (2015) Vol. 5, No. 2, pp. np

Despite a wealth of literature on the narrative and emotional implications of film music, little has been written on the relationship between musical choices and characterisation. When character is discussed in relation to music, the focus tends to be on ...