July 2013
Beginner to intermediate
344 pages
10h 1m
English
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11
Approaches and Techniques
There’s no textbook way to prepare a design or composition for a production. It’s not as easy as saying, “Take a storm, add some underscoring and scene change music, and you’ll have a wonderful sound design for The Tempest.” Every production of a play is different, and each production presents a different set of possibilities for the composer and/or designer. At one end of the spectrum, there are straightforward productions containing a handful of realistic effects taken directly from sound libraries. At the other end, there are productions that call for numerous unrealistic effects, each one needing to be created from scratch. This range of needs and diverse approaches is not limited to sound effects. Compositions ...
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I wanted to learn C and C++, but it didn't click for me until I picked up an O'Reilly book. When I went on the O’Reilly platform, I was astonished to find all the books there, plus live events and sandboxes so you could play around with the technology.Addison B.
I’ve been on the O’Reilly platform for more than eight years. I use a couple of learning platforms, but I'm on O'Reilly more than anybody else. When you're there, you start learning. I'm never disappointed.Amir M.
I'm always learning. So when I got on to O'Reilly, I was like a kid in a candy store. There are playlists. There are answers. There's on-demand training. It's worth its weight in gold, in terms of what it allows me to do.