How Music Occupies Space in the Stereo Field - Essay Example

Table of Contents Table of Contents 2 Background and Introduction 4 1 Objective 5 2 Movement and Music 6 2.Interfaces and Interactions 72.1.1 The Interface between Movement and Music 7 2.1.2 The Interface between Matter and Space 8 2.1.3 The Interaction between Movement, Matter, Space and Sound 8 2.1.4 Unique Energy 8 3.Musical Actions 9 3.1 Triggering 9 3.2 Processing 10 3.3 Structuring 10 3.3.1 Algorithmic Music Composition 10 3.3.2 Live Recording 11 3.3.3 Playback Techniques 11 3.4 Panning 12 3.5 Mapping Physical and Musical Actions 13 4. SOUND CONTROLLERS 15 5. Music Production and Mixing 16 6. A Case Study of Producer’s Techniques: Phil Spector 19 7.1 Brian Eno’s Ambient Music 21 7.2 Brian Eno’s Productions on Ambient Music 21 1. Background and Introduction The conventional musical instruments have been the prime source of converting the musician’s physical movements in to musical sounds since history. Musical instruments strongly relate movement and music with each other. Also, the musical composition composes and directs the physical gestures of humans on to a musical instrument. With the inventions of mechanical musical instruments such as piano and others, the musical production evolved entirely in to a new form. Further, the introduction of tape music in 1950s eliminated the requirement of human performers for creating music. One of the radical changes in music production was marked through the development of computer music that involved pre-recorded media, speakers and stereos. Thus, the association between the music creation and physical human movement got disrupted through the use of computer that brought a type of non-instrumental composition in addition to the music production functions such as synthesis, recording and sequencing. However, the link between music and physical human movement has once again revived in the realm of computer music due to the use of latest sensors and the evolution of custom interfaces. The real time and highly interactive technologies allow computer music to extend itself to the physical world of human movement and thus, open the gate towards the creation of extremely imaginative alternative musical instruments such as the hyper instruments (HI’s) that were introduced by Tod Machover. Such interactive music systems offer limitless possibilities. Conventional instruments are highly interactive systems as they respond immediately to a specific physical action with a corresponding musical action. Hyper instruments are directly derived through conventional instruments and therefore, they respect this basic link with traditional instruments. However, hyper instruments revolutionize the functionality of conventional instruments since they fundamentally enhance the two sides of the interaction. Physical action: Hyper instruments have a wide variety of musical gestures and thus, the movement is no longer confined to the physical actions that play conventional acoustic instruments. In deed, new instruments can be created starting from a detailed study of movement and then can be designed with the suitable interface later. Musical action: There are only two kinds of musical actions in conventional instruments namely, the triggering and shaping of a sound. These two musical actions have fixed and unchangeable action and response. However, in hyper instruments this behavior can be radically reconsidered as they allow new musical actions to be created. A physical movement has the potential to change the structure of a musical piece, adjust the localization of the music in space or change some parameters of processing or synthesis of sound. It is important to note here that in a hyper instrument, the sound is generated either in the input (acoustic) interface or in the computer. These possibilities can be integrated together due to the tremendous flexibility of the structures of hyper instruments. 1.1 Objective The objective of this study is not to realize any particular hyper instrument but to understand the strong base and structure of the work in the field of music production. Thus, this paper intends to determine that how music occupies in the stereo sound field and the recording techniques used in this regard. This investigation includes as case study the recording technique most commonly used by the great music producer, Phil Spector. 1.2 Movement and Music The evolution of different sources of musical movement is marked through five different milestones in history. Although, these new sources of musical movements have emerged in the past, however, not any source has replaced or discarded the other source. At present, each source of musical movement has its own relative importance since all of them share the entire spectrum of music creation. The five historical milestones for different sources of musical movement are listed below: Human movement: from antiquity to eighteenth century. Mechanical Movement: eighteenth century onwards. Movement of Natural Elements that means musique concrete: Since 1948. Movement of Sound that refers to electronic and computer music: Since 1950. New form of Human Movement such as Disk Jockeying and hyper instruments: Since 1980. The purpose behind this discussion is the source of movement involved in the execution of music that is related to what is heard. In a musical composition, a composer internally imagines and perceives musical movements and then attempts to express them. Thus, the source of music is always an intuitive sensation of musical movement even if no physical movement is involved in its execution. The evolution and execution of music are characterized through the various ways of expressing the internal perception of musical movement. 2. Interfaces and Interactions It is essential to know the architecture and various functions of conventional acoustic instruments prior to designing or building new musical instruments. Basically, musical instruments not only establish the link between music and movement but also serve as an interface between matter and space. That further means that matter and space also provide part of the interface link between music and movement and similarly, music and movement also provide part of the interface link between space and matter. Thus, the musical instruments are placed at the intersection of these two interfaces. 2.1.1 The Interface between Movement and Music Both matter and space are essential for transforming movement in to sound. Space is certainly crucial since no physical particle will be able to evolve dynamically without space. On the contrary, matter is the physical medium that expresses movement in to music or sound. This physical medium transfers from the body of the performer to the body of the musical instrument. For instance, if the singing voice is the instrument then the singer’s vocal chords serve as the physical medium for both the performer and the instrument or else there has to be some physical contact or more probably a fusion of both the physical mediums so that the movement is transformed in to a sonic vibration. The body of the performer could also be able to form part of the interface between music and movement since extremely skilled and proficient musical performers have strong bonding with their instruments. The intersecting point between the two bodies serves as the place at which the linear motion of the movement transforms in to the alternate motion of music. The point of junction with respect to the input interface of the instrument is the place at which the physical energy of the performer is applied to convert matter in to vibration. 2.1.2 The Interface between Matter and Space With the help of movement and sound, matter is converted in to the musical space of sound surpassing by far the physical space containing it. For instance, when an instrument fills up the hall or studio with its sound then this phenomenon is observed. Moreover, there exist various other types of spaces which do not compulsorily require sound but need at least movement for their existence for instance, the gestural space of dance. Despite the physical space seemingly in a static state, is actually carrying the outcomes of various kinds of movements. The plastic architects and artists are well aware of this fact. Movement serves as the medium that allows matter to be transformed in to intangible space through lines, curves, rhythms, breaks and etc. 2.1.3 The Interaction between Movement, Matter, Space and Sound It can be easily noted that there exist a strong interaction between all the components of this system. Musical instruments play a vital role in creating the balance between the various elements since they are placed at the center of the interaction or junction point of this system due to which energy flows in all directions that definitely provides the musical performance with its distinct lively sensation and vitality. 2.1.4 Unique Energy Creating music with out any instrument has been recognized as breaking the basic interaction and link between matter, movement, space and sound. The recorded or pre sequenced music lacks the vital contribution of human energy in a musical performance. It can be debated that a loudspeaker or stereo or a player piano has the ability to complete all the interactions and can also replace the musical instruments at the junction of the system which is true but this kind of energy flowing through the system would not be same as the unique energy that flows through the system due to the personal involvement of human beings. This is the reason why people enjoy so much to go to concerts or performances and why people are not attracted towards the performers who play back a CD or simply push button on the stage. Excluding all the subjective reasons such like visual, musical and emotional ones, it is due to the fact that mostly people enjoy and prefer the distinct energy and sensation that is displayed in a live performance as a result of well executed, detailed and refined movements. A performer appear to be more interactive and engaging if he or she constantly controls the music creation through his or her elaborated movements in contrary to the one who make less frequent changes to some pre-made music or casual changes to a real time process since the unique energy is created not just by the performer himself but by the performer’s physical performance or movement. 3. Musical Actions A musical action is defined as a function that influences the musical content in real time through creating new sound material or through changing an existing sound material. Musical actions are generally characterized in the 4 different categories which are described below. 3.1 Triggering The most classical example of a musical action is triggering notes and sounds since it is the prime operation of acoustic instrument which can be further transcended through the inclusion of pre-sequenced or pre-recorded events. Therefore, only a single musical action can trigger an entire musical line, a sequence, a loop, a cluster or a chord of sounds. 3.2 Processing Musical actions are classified in to two types in relation to processing of sound. These two types are: Sound Synthesis that deals with the generation of new sound material and Sound Effects Processing that is concerned with the transformation of previously generated sound material. Actually, the basic action here is to change the parameters of real time sound processing. This interactivity differentiates itself from the simple operation of triggering musical action. 3.3 Structuring The structuring musical action can be divided in to three sub-groups which include algorithmic music composition or generation, live recording and techniques of play back music. 3.3.1 Algorithmic Music Composition Methods or plans required for executing actions, procedures or operations on musical material are referred as algorithms (Winkler, 1998). Robert Rowe further classifies three methods in relation to interactive music systems that are used by algorithms in order to respond to data input. These three methods are generative, sequenced and transformative methods. A concise definition of these methods given by Robert Rowe (1993) is given below: The methods that use sets of rules in order to create complete musical output from the basic material already stored are called generative methods. Sequenced methods are such techniques that use pre-recorded musical fragments or pieces for a real time input. The characteristics of these fragments such like dynamic shape, tempo playback and rhythms may be modified in performance. The method that creates variations of already generated musical material with the help of the transformation process is referred as transformative method. These variants in this technique may or may not be identifiably associated with the original source. 3.3.2 Live Recording Live sampling of both audio or MIDI data is related with live recording musical action of structuring. This type of musical action either creates live loops or record audio fragments for triggering at some later stage. In 1970s, Echoplex that was an analog recorder having circular tape, put forward the idea of live looping. After some time, a digital version of Echoplex, called Digital Echoplex Pro with various additional functionalities was created by Oberheim. Excluding the traditional use of over-dubbing, the invention of digital echoplex pro made it possible to record on to different tracks, alternate among tracks, and copy loops from one track on to the other track. Digital Echoplex Pro is also capable of creating and sampling loops with perfect timing that has turned out to be a major break through of this technology. The recording of a sample is initiated through the first tap of the foot and carries on until it is stopped with the second foot tap, after which the sample instantly gets in to a loop. Building complex structures and appealing performances have been made achievable with the help of this well designed multi track live recorder. 3.3.3 Playback Techniques The third example of structuring musical action is playback technique. Disc Jockeys first introduced playback technique in the 1980s. At first, disk jockeying was referred to playing back one record after the other record. But later, some disc jockeys turned disc jockeying in to an art form through their creative potential as they experimented with the playing back and manipulation of records. Scratching is referred as the most common or primitive playback technique whereas the computer has been discovering new techniques to play back for example, one such technique is called pattern playback. A pointer divides the sample in to small loops of sound having duration from few milliseconds to several seconds for each loop instead of just playing the sample straightforward. Many parameters such as number of repetitions, length of loop, speed, index of the pattern, volume and offset can be modified in real time where offset is referred to a positive or negative value added to the position of the pointer allowing it to effectively jump back and forth after the completion of a certain number of loops. Different values for each parameter results in various patterns that allows interesting and complex rhythmic structures to be generated. New music is created with the help of very short loops of less than 20 milliseconds just like the wave table synthesis. Due to this and various other features, pattern playback gets the potential of being used as a creative and promising technique. 3.4 Panning The panning category includes two kinds of musical actions which are: mixing and spatialization. Hyper instrument at many occasions will generate multiple sounds at the same time with the help of numerous instruments playing simultaneously which can be particularly observed in live sampling since the performer can direct a new sound or play a new instrument over the recorded sample. Volume control and equalization of various voices are important in this case. Moreover, various set ups for the spatialization of sound can be arranged on the basis of the type of output system such as stereo or multichannel and speaker configuration such as line, space or plane. For instance, if a 3D sound system has been used by the performer then he or she will be able to move the sound source with respect to his or her movements which is a perfect example of the latest musical action posed through the hyper instruments. Table for Musical Actions Triggering (Audio or MIDI events) Lines and chords. Notes and sounds. Loops Sequences Processing (changing parameters) Synthesis of Sound (FM, additive, subtractive, physical modeling, etc.) Processing of Sound (harmonizing, filtering, delay, echo, vocoder, chorus, etc.) Structuring Algorithmic music composition involving generative, transformative, and sequenced methods. Live Recording involving looping sampling, multi-tracking, overdubbing, etc. Play back techniques such as scratching, pattern playback, etc. Panning Mixing Action involving volume control and equalization of different voices. Spatialization Action involving position of sound sources. 3.5 Mapping Physical and Musical Actions In the end, all the physical action can be expressed in terms of any musical action as shown in the figure given below. Though, the mapping combinations of physical movements in to musical actions should correspond to playable and aesthetic sense. However, there is a challenge of having poor mapping strategies since hyper instruments divide the music production in to input interface, sound generation and output interface segments. The input or gestural interface in conventional instruments is a straight mechanical output of the physical parameters relating to the sound generation method. The associated physical action in that context is logical in sense since it is directly related to the implied and evident sound reaction. While controlling hyper instruments, this type of conventional interface might be irrelevant since it may disintegrate the perceptual connection between the physical action and its musical response. Thus, the following three directions of research should be taken in to account while designing new hyper instruments in order to match these mapping issues. 1. Obvious perceptual mapping should be used in order to find a notable and evident reaction in the sound for the particular physical movement. 2. Enhance the scope of movement and find the physical actions emphasizing on the expressive details. 3. Design interfaces corresponding to the kinesthetic attributes of newly produced musical actions. 4. SOUND CONTROLLERS The main purpose of sound controllers is to control other processes through sound or acoustic vibration. This signifies that the gestural interaction should generate some sort of physical vibration either through bowing, striking, plucking, blowing or through scratching the gestural interface. Thus, selecting a type of gestural interaction has to be based upon a particular motivating philosophy in order to control vibration in an acoustic interface through physical gestures. According to the Hungarian composer Bela Bartok (1937), a vibrating body is the final source of any musical sound and thus, the more musical sound is generated when the less external bodies intervene between the vibrating body and the human body since this prolongs the vibration between the two bodies. The final source of any sound in conventional acoustic instruments is usually in the immediate contact with the performer. Such instruments are extra-ordinarily compact and integrated. On the other hand, hyper instruments divide the system in to input interface, sound generation and output interface. Thus, the final source of sound for hyper instruments is located in the stereo or loudspeaker. So, in this case, how many external bodies are present between the final source and the human body and how vibration is controlled here? Hence, the performer has to be in contact with the vibrating interface in order to truly integrate the input interface and the output interface and to unify the connection with the instrument. 5. Music Production and Mixing There is no simple or pre-defined way to make pro recording pro or to get the sound of the pros or to make the music recordings sound more professional but excellent output can be generated with the help of advanced equipments, careful listening and some experience. Human ears are the first and the most important element of any equipment since we listen music and analyze it through our ears. 5.1 Mixing EQ and compression are most basic components of sound mixing techniques and so are the most essential tools that are used by all the professional music producers. Thus, it is important to know how to use these tools. The basic requirements for using these tools are ears, stereo and experience. The elements described below are the key towards improving one’s mixes. Correct level Levels can not be pushed while digital recording unlike tape recording but still the producer would like to put as much signal as possible in to the system. Thus, levels should be carefully watched for recording and clipping at a constant and even level. Some computer software enable the producer or mixer to set and monitor the input level from with in where as some other software programs require sound card’s mixer while the rest are not equipped for setting the input level internally and thus, expect the producer or mixer to adjust the input level at the source. Fine Monitors Human ears are only as good as the monitors that they are listening to. Thus, a good pro mix sound can not be produced on small computer speakers. So, it is important and always better to hear the sound through hi-fi stereo while mixing. Surprisingly, it is not necessary to use the most expensive microphone. A vast number of artists use average microphone since they get the job done very well. Of course, one can use expensive microphones having large diaphragm capacitor since they are good for vocals but dynamic microphone would be the appropriate choice as they are very affordable and can be switched to many tasks. Mixing audio and MIDI Computer based recording has the benefit of changing, editing and processing any part of the sample very easily. Also, it very easy and simple to integrate audio and MIDI tracks and so, numerous musicians use a combination of MIDI parts, sample loops and audio recording. Audio recording usually involve guitar and acoustic instruments like vocals and sax. The sound of guitar is best recorded through placing the microphone in front of its speakers. The other way is to DI them and then to process them after wards which may be a cleaner approach but the best approach for natural guitar is microphone amp. It is not compulsory to record drums in real time and actually it is hard to create and retain a modern sound. Audio drum loops and MIDI drum riffs or musician’s own program can be used. At present, the quality of the gear producing the drum sound is such that a good riff will sound like a pro. It is very simple to arrange MIDI and audio parts in to song since they can be seen on the same screen in advanced sequencers but if the musician is mixing everything down then it should be considered to just route the MIDI and audio outputs via mixer in to the DAT machine while recording to DAT. For creating a CD, the musician has to first transform the MIDI parts in to audio data. The complete song can be mixed in to the hard disk and then burned in to a CD. Another added advantage is to convert MIDI in to audio which is the functionality of processing MIDI tracks with the help of digital effects. Effects Master, Send and Insert are the three positions for the effects. Master is used when effects are to be applied on the entire mix. These usually are compression, EQ and reverb. Though providing each channel with different Insert effects is quite neat however, every channel takes the corresponding value of CPU power. Thus, in case same effect is to be applied on more than one channel and the computer is struggling for it then Send effect can be used to route the other channels to the desired effect. Effects can be applied using pre fader or post fader through many pieces of software. In case of post fader, the fader controls the amount of sound sent to the effect where as the total volume level of the sound signal is sent in case of the pre fader. The software are mostly by default set to post fader thus, this is the most commonly used effect. EQ The most popular and commonly used sound effect is the EQ. It is in fact used to fix the mix. It is essential to have decent stereos or speakers prior to using EQ and any other effect as mentioned previously. The plug-in effects like Maxx Bass have the ability to psycho-acoustically increase the frequencies of bass for making the mix sound better even in small speakers although this could not be used at the first place for getting a good bass according to the good recording principles. The mix can also be enhanced through enhancers and spectralisers however these can mess with the harmonics which is not preferred by some music producers. According to EQ lore, it is better to cut than to boost. When the sound is top-heavy then the musicians tend to enhance the mid and bass ranges that compel the musician to boost the upper range to compensate which finally results in boosting up everything. Cutting is preferred since boosting also increases the noise which is what is not required. It is advisable to keep checking the output meter while fiddling. In the end, select single track in EQ changes when playing back the complete sample which will allow you to listen to the tracks in relation to other tracks. Although, the piece may sound ok in isolation however some frequencies may project over other tracks that makes the frequency of the piece rich at some places and poor in some other places. Reverb Reverb produces space in the sound giving the feel that the sound was recorded in a canyon or hall. According to the recording lore, the entire piece should be recorded dry with out any reverb leaving the option to be added and experimented later since reverb can not be reversed after being recorded. Increasing reverb will make the sound seem to be further away. In order to bring the vocal up-front, only appropriate reverb should be applied just to eliminate the dryness. 6. A Case Study of Producer’s Techniques: Phil Spector Phil Spector was famous for his strong and non-traditional concepts related to musical and recording techniques. Spector profoundly opposed stereo releases irrespective of the trend towards multi channel sound recording as he revealed that the control of the record’s sound was taken away from the music producer to the audience through this approach. He also gave preference to singles instead of albums depicting that LPs contain ten pieces of junk with just two hits (BBC, 2009). 6.1 Wall of Sound-Recording Technique used by Phil Spector Phil Spector mostly worked at the Gold Star Studios in Los Angeles during 1960s since it has extra-ordinary echo chambers that were necessary for the recording technique called wall of sound. The sound was first capture through the microphones in the recording studio and it was then transferred to an echo chamber that was a room in basement equipped with microphone and speakers. In this technique, the sound signal from the studio was played in the echo chamber through the speakers contained there then reverberating sound in the room was captured by the microphones present there. Afterwards, the echo laden sound was transmitted to the control room for transferring to tape. The productions of Phil Spector got their distinctive quality through the echo and natural reverberation achieved from the hard walls of the chamber which made his sound rich and complex when played on AM radio. This technique also provided an impressive depth to Spector’s production that was rarely found in mono recordings. 6.2 Examples of Phil Spector’s Productions using Wall of Sound Technique Generally, the foundation of Phil Spector’s recordings was laid upon the wall of sound technique but some of his records are believed to have outfitted its use. The Spector’s song in 1963, ‘Be My Baby’ which was written by Jeff Barry and Ellie Greenwich is widely remembered among the finest pop tunes ever. This song was recorded through the wall of sound technique. The Ronettes’ version of ‘Sleigh Ride’ was also recorded by Spector using this technique. ‘DaDoo Ron Ron’ by The Crystal is another famous example of Spector’s productions using the Wall of Sound recording technique. Spector also produced various other songs through this technique. 7. A Case Study of Brian Eno’s Music Production Techniques In early 1970s when Brian Eno started to make some sort of quiet and unobtrusive music then he denoted it with the term, ‘ambient’ being aware of the word’s rich connotations (Tamm, 1988). The distinguishing characteristic of this type of music was that it could tint the ambience of the place at which it was played, which enabled the music to surround its audience such that a sense of depth and spaciousness is created among them along with encompassing the listeners from all directions rather than just coming at them. 7.1 Brian Eno’s Ambient Music Eno blended his music with the sounds of its environment such that it invited the listener to enjoy the music along with the sounds from the environments instead of getting irritated by the people coughing, talking or murmuring whilst the slow movements. Although this sort of music had a central design or motif but still the glimmering affluence of sonic patterns and accessory motives were able to surround it and enhance it further. Ambient music is not expressionist but it is decorative, which lacked the bathos of confessions- such as displays of open psychic wounds- and self importance. 7.2 Brian Eno’s Productions on Ambient Music Brian Eno produced four albums between 1978 and 1982 which were dedicated to his ambient music and therefore, he called them, ‘Ambient Series’. For this purpose, a handsome set was created displaying supporting layout, art work and typography. Out of these four albums, the Eno’s music was dominant only in the first and the last albums whose titles are ‘Music for Airports’ and ‘On Land’, respectively where as the second album, ‘The Plateau of Mirror’ was collaboratively composed by Brian Eno and Harold Buss and the third album of ambient series, ‘Day of Radiance’ included compositions by hammer dulcimer player Laraaji. Brian Eno extended the concept of ambient music to include a range of albums that were released before and after this series of four ambient albums. Thus, the ambient music addresses a wide approach to composition apart from denoting a certain concept of modes of reception or appropriate mode in music. The specific traits that characterize various music pieces composed in the style of ambient music are listed below: Gentleness, Quietness, Development and control of a single pervasive atmosphere, A focus of the vertical sound of music, Non-developmental forms, Modal pitch sets, Regular and irregular iterations of events, Layered textures to achieve an even balance between tone and noise, Option of a limited number of parameters for each piece, and A pulse that is sometimes uneven or breathing or non existent. References Bartók, B. 1937. ‘The mechanical music’. Trad. Szendy, P. In Les Cahiers de l’IRCAM, No.7, 1994. Paris: Ed. IRCAM BBC 2009. Phil Spector’s Wall of Sound. [Online] Available at http://news.bbc.co.uk/2/hi/entertainment/6467441.stm Bertoncelli, R. Brian Eno. Milano, Italy: Arcana Editrice, 1982. Destefani, F., and F. Massoni. Brian Eno: Strategie oblique. Milano, Italy: Gammalibri, 1983. Road, C. 1996. The computer music tutorial. Cambridge: MIT Press. Rowe, R. 1993. Interactive music systems. Cambridge: MIT Press. Ishii, H., Wisneski, C., Orbanes J., Chun, B. and Paradisio, J. 1999. ‘PingPongPlus: Design of an athletic-tangible interface for computer-supported cooperative play’. In proceedings of Conference on Human Factors in Computing Systems (CHI ’99 Pittsburgh, May 1999). ACM Press, pp. 394-401. Winkler, T. 1998. Composing interactive music. Cambridge: MIT Press. Tamm, E. 1988. Brian Eno: His Music and the Vertical Color of Sound. [Online] Available at http://www.pdfhacks.com/eno/BE.pdf Read More