«The composition of the complex vocalizations and the use of
the different sound sequences are the object of increasing study, but much remains unknown,» says study Sarah Zala, the first author of the study.
Not exact matches
The way we group notes within continuous
sound sequences is determined by the iambic - trochaic law (ITL), whereby we tend to pair
sounds of varying intensity or pitch into trochees and those of
different duration into iambs.
Each square triggers a
different sound or effect — such as a snare drum or reverberation — and the way that the ball then bounces around the squares produces a
sequence of
sounds.
This may
sound similar to application # 1 (newborn / pediatric
sequencing) but it's a
different kind of study that taps into a unique resource: multiplex pedigrees from families affected by genetic disorders.
The artists talk about using
sound design and music to sculpt the three
different battle
sequences which comprise the film's second half, the challenges of using period accurate weaponry, and how the
sound of breathing can take you inside the main character's experience.
The first of those comes from credits designer Michael Cooper and discusses what he tried to convey through the
sequence, while the second involves audio engineers Brant Biles and Robert Margouleff and covers some issues related to
sound mastering for
different environments.
The artists talk about using
sound design and music to sculpt the three
different battle
sequences that comprise the film's second half, the challenges of using period - accurate weaponry, and how the
sound of breathing can take you inside the main character's experience.
The sleeves may also be interpreted by a group of musicians, each of whom selects
different sequences and responds to them in an unsynchronized way, so the
sounds may overlap.