Game Sound Technology and Player Interaction: Concepts and Developments researches both how game sound affects a player psychologically, emotionally, and physiologically, and how this relationship itself impacts the design of computer game sound and the development of technology. This compilation also applies beyond the realm of video games to other types of immersive sound, such as soundscape design, gambling machines, emotive and fantastical sound to name a few. The application for this research is wide-ranging, interdisciplinary, and of primary importance for academics and practitioners searching for the right sounds.

As this comprehensive and multi-disciplinary anthology makes clear, virtuality has a pedigree that pre-dates the computer age and modern virtual worlds, a pedigree that can be traced back to classical mythology and beyond. Equally, the concept of virtuality is not the province of one field of study alone but is the foundation and driving force of many, both theoretical and applied. Our conceptualizations and applications of virtuality are multiple, as is shown across the nine sections of the book that move from philosophy to technologies and applications before returning to philosophy again for a discussion of the utopias and dystopias of virtuality. The almost 50 essays contained within range freely across subjects that include the potential of virtuality, ethics, virtuality and self, presence and immersion, virtual emotions, image, sound and literature, computer games, AI and A-Life, Augmented Reality and Real Virtuality, law and economics, medical and military applications, religion, and cybersex. Throughout, contributors discuss differences between virtuality, reality, and actuality, in debates filtered through the lenses of the disciplines represented here, and speculate on future directions. It is not at all clear that there are differences and, if such distinctions are to be found, the boundaries between virtuality, reality, and actuality continually shift as ideas, modes of organization, and behaviors constantly flow from one to the other regardless of direction. The Handbook presents no unified definition of virtuality to comfort the reader, rather a multiplicity of questions and approaches underpinned by provocative statements that should further fuel the debates surrounding our notions of virtuality.

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Throughout the chapters, lessons on recording methods gradually build complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, any reader will find an essential resource in The Recording, Mixing, and Mastering Reference Handbook.

In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, and put forward a unique argument that sound is a fundamentally virtual phenomenon. Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation. Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas.

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

As this comprehensive and multidisciplinary book makes clear, virtuality has a pedigree that pre-dates the computer age and modern virtual worlds, a pedigree that can be traced back to classical mythology and beyond. Equally, the concept of virtuality is not the province of one field of study alone but is the foundation and driving force of many, both theoretical and applied. Our conceptualizations and applications of virtuality are multiple, as contributors demonstrate across the nine sections of the book that move from philosophy to technologies and applications before returning to philosophy again for a discussion of the utopias and dystopias of virtuality. The almost 50 essays contained within range freely across subjects that include the potential of virtuality, ethics, virtuality and self, presence and immersion, virtual emotions, image, sound and literature, computer games, AI and A-Life, Augmented Reality and Real Virtuality, law and economics, medical and military applications, religion, and cybersex. Throughout, contributors discuss differences between virtuality, reality, and actuality, in debates filtered through the lenses of the disciplines represented here, and speculate on future directions. It is not at all clear that there are differences and, if such distinctions are to be found, the boundaries between virtuality, reality, and actuality continually shift as ideas, modes of organization, and behaviors constantly flow from one to the other regardless of direction. The Handbook presents no unified definition of virtuality to comfort the reader, rather a multiplicity of questions and approaches underpinned by provocative statements that should further fuel the debates surrounding our notions of virtuality.

The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Throughout the chapters, lessons on recording methods gradually build complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, any reader will find an essential resource in The Recording, Mixing, and Mastering Reference Handbook.

There has been little written on the player experience of computer game sound and so the research contained within this work is an important contribution to an area where the visual (the game as spectacle) is typically given primacy. It is an exploration of the relationship between the game player and the sounds of the First-Person Shooter computer game. Utilizing the run 'n' gun sub-genre as an example, the book suggests that this relationship may be analyzed as an autopoietic acoustic ecology and it emphasizes the role of sound in enabling player immersion in the game environment. Covering a wide range of ideas, from autopoiesis to acoustic ecologies and soundscapes, from film sound theory to sonification and auditory icon design, this lucid analysis will be especially useful to game sound designers and games scholars or indeed anyone interested in the fascination that digital media arts exert.