Wild World Championship

SOUND EFFECTS

SOUND EFFECT

radio is a sound that enhances the ambience of an action or description of a place, a feeling ... By its nature, facilitates the imagination physical phenomena such as rain, night, but also the description of sensations and feelings such as anxiety or fear.

Balsebre Definition: The sound effect is a sound set of shapes represented by inarticulate sounds or musical structure of natural sound sources and / or artificial, that restore both objectively and subjectively building an image of reality.

Two types: Ø

natural sound effects: sounds captured from referential reality in the narrative and represent their own sound source. Eg birdsong. Ø

artificial sound effects, are more common in radio production. Its features allow them to be produced live. Should be identified with what they represent. The artificial production of a sound effect rests on a dissociation between the sound source and the object represented eg use of small steel plates to simulate rain. (Has nothing to do with the originating source sound effect and sound object shown).
Production Process:


The sound object is the representation of sound produced by the sound source from radio language systems, and has its own entity. Importance of credibility and the striking association between source and object. In itself, the sound effect generated images in the listener and increases the credibility of the message index sound.




Objectives of the sound effects in radio:

mimetic or reconstruction of reality that involves the sender and the recipient.

or distortion of reality to overdo it, providing humorous or dramatic dyes.

Ø Enhancing the representation of feelings and exploiting their traditional association with the forces of nature.

Objectivity leads to mimetic reconstruction, while the subjective seeks to delve into the emotions. A single sound effect can have multiple meanings depending on the type of restitution (the context will give the semantic dimension one):

sound effects Features:

-environmental or descriptive: the effect is part of the environment in which action and has developed a natural character. Eg anyone expect a call and the phone rings / It is winter and the cold wind stresses the environment.

or descriptive expression: the effect reinforces the feelings, moods of the protagonists. Example: To indicate that someone has died can use the bells of the church / to highlight the hopes and anguish of it, you can use the ticking of a clock.

A single sound effect can play either or both functions simultaneously. The context that will ultimately determine the descriptive or expressive (or both at once) the same effect. The sound effect reaches its peak when it manages to semantic information (the sound of a door opening), and also highlights and accentuates a feeling (the door opens why you have to face the truth). Ø

Narrative:

a) marks the transition space / time between a sequence and another (ie, the cock crows to signal the arrival of the day)
b) Reconstruct an action that requires no word or music (eg the sound of the TV, dishes ... to indicate that this person eats alone.)
c) Represents a character or highlight an important feature of it. (Eg the sound of a wheelchair, his footsteps, etc.).

In all examples, the sound effects are essential to understanding history. Of them is apparent not only semantic information but also reinforcing environment, emotions, from a subjective point of view. Ø

Ornamental: It acts as a value accessory that can enhance the environment in which elapses action, but is not required in history. Emphasizes the aesthetic aspect of the message.

Using effects in the current radio time signals. The listener organizes real time and also the radio. Eg sound that precedes a newsletter. The effect shown in many cases a change of content.
The effects are mostly found in the commercials, in masks, in comedy shows, in magazines ... The effects have not been sufficiently exploited and valued in the radio information (credibility / dominance of the word / making the maximum use of the phrase / belief that the effects detract from the character information).

http://www.wikilearning.com/apuntes/teoria_y_tecnica_del_lenguaje_radiofonico-los_efectos_sonoros/11081-3

Diane 35 Breast Enlargement

Voice and Breathing Techniques

Voice

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First of all what Dr. Agustín Pérez mentioned as the definition of the voice, the voice says is the sound produced by vibration of the vocal cords closer together due to the passage of air through the larynx. Inside you the vocal cords (also called vocal folds), which are two bands of muscle tissue located in the larynx and inserting in their cartilage. By opening and closing breathe phonation occurs. These cords can tighten or relax, resulting in treble or bass sounds.
already having made clear what is the voice we will breathing techniques and reading skills, these are very important for us as future communicators, because with them we can remedy or detect some of the shortcomings we have in voice, the way we read or our way of breathing that most of the time is normal for us. In the search that do I found a website that said radio workshop, which was used by a teacher in the University of Westminster, her name is Maria Eugenia Hernández Martínez, In it I found several interesting topics and some breathing exercises, as also reading exercises, modulation, among others, cite a few years later.

BREATHING EXERCISES

L to correct breathing is called diaphragmatic deposit because the air in the abdomen is achieved that the diaphragm muscle is the support and air that will catapult your vocal cords vibrate.
deep breath and measure the time it can be read to require air again, or, alternatively, extend a vowel (eg Aaa ...) and times its length until it runs out of air. Likely to be 10, 15 or 20 seconds-long your air.
This means that not enough air entered because they have become accustomed to our reservoir (abdominal muscles and lungs) to accumulate. This lack of practice or exercise, is it that when we seek deeper into an open field have shortness of breath.
· Then, we train our chest to abdominal breathing:
through the nose, inhale slowly, ensuring that the air breathed into the abdominal thrust. Feel your stomach tends to rise. Not only did you fill your lungs but also the abdominal cavity.
Then, too slowly, take the air as if you were blowing gently. Sure, when you exhale, your stomach will deflate. This practice is recommended ten times in the morning and ten times a night for seven days.
Gradually you will notice that your rib cage or requests are more likely to receive more air. These
abdominal breaths should be deep and slow. Nothing will win during vigorous. Always practice
position standing, slightly raise the head, arms and without releasing muscular tension. To
breathing practices feel calm and relaxed. Special Care: When you breathe, do not lift your chest and shoulders.
In the second week, as indicated vacuum (feeling as it fills your abdominal) and, after a deep breath, stop the air for 10 seconds and then release it slowly blowing. This will make ten times in the morning to ten at night, for a week.
With these simple exercises, you will already know the technique of abdominal or diaphragmatic breathing.
In the third week we will take that breath to manage better air and transform it into sound.
To do this, to take the air, instead of blowing slowly, making the sound of the letter or in a continuous manner, without cutting off the air: uu ... The emission of sound should be soft, very weak, not to waste air. The letter u is recommended that the position of the lips to utter waste it prevents air.
thus begin to exercise better management of air and control of multiple muscles involved in speech. Do not worry if at first you leave the letter "U" a little shaky or with variations. Just
, that will indicate that still has not mastered the "air out" because, by exercising continuous, uniform and strong sound. So, our sound can come out strong or weak, depending on the amount of air that we use in the issuance and technology we use to strengthen the muscles involved.
From the fourth week, and the pace of practice, take deep breaths and sounds with different vowels but varying the intensity, ie, sometimes making them sound strong and others very weak. Obviously, if it produces loud sounds, the air is completed faster, but well learn to master their departure and meet changes in modulation.
In the fifth week, we went to the differentiation of sounds Nasal with the same air, instead of vowels, say the letters m and n. To that end, inhale deeply, ring mm ... nn .... and turn on each breath. Pay special attention to the impact of these sounds in all their head. Feel like all of it vibrates. You will notice that the air goes through the nose when he says mm ... or nn ... and that resonate in your head. Check a jiffy
covering her nose. Each time, try these sounds are heard louder.
Then, mix these consonants with vowels. For example: nnnaaa ... nnneee ... (Imitating a bellow) moo ..... etc.
Now you, thanks to your breathing, you can feel the difference between what is and what is screaming loud talking. When crying is irritating her throat and forcing her vocal cords. Instead, when spoken aloud, but are using better air and projecting the sound.
• Finally, another exercise to control or manage the output of air: Take a candle and her lips encircle some four or three inches of the flame (without burning yourself, please) and say hold the letter u. The sound (air) should come off very slowly. The practice is not to extinguish the flame. Of course, this will be achieved if dominates, regulates or manages the air, because if expelled very strong, turn off the flame.
Do this exercise as many times as necessary until saying: uuu ... very close to the flame, not turn it off. Again the comparison, and is learning to control the air wrench.

Sources:
AUTONOMOUS UNIVERSITY OF WEST CORPORATION

SOCIAL COMMUNICATION DIVISION SOCIAL COMMUNICATION-JOURNALISM PROGRAM
MARIA EUGENIA MARTINEZ HERNANDEZ
SUB-AREA RADIO, Time Teaching Chair

RADIO WORKSHOP I