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Spaces of Sound Meanings of Spatiality in Recorded Sound

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Spaces of Sound Meanings of Spatiality in Recorded Sound Spaces of Sound Meanings of Spatiality in Recorded Sound Emil Kraugerud Master’s thesis in musicology Department of Musicology UNIVERSITY OF OSLO Spring 2016 Cover illustration: “Listener in sound-space”, Emil Kraugerud. II Abstract This thesis concerns the importance of forming the virtual space in recorded popular music. Several researchers have addressed the spatial aspects of recorded music, with a focus on how such aspects contribute to the sound of a recording. However, little attention has been given to the ways in which the spatial shaping of recorded sound affects the interpretation of meaning in a recording. In this thesis I address this gap by introducing a new concept called the sound-space. The sound-space is a production-analytic model that comprises both the four-dimensional spatiotemporal organization of previous models for sound analysis, and the ways in which that organization evokes or emphasizes meanings in the recorded music. Through the discussions in this thesis I will attempt to get a grasp on the ways in which spatiality can be used as a basis for investigating how meaning is affected in record production, and how spatiality is possibly experienced through previous corporeal experiences with different spaces. In order to demonstrate how the sound-space can be applied as a tool in record production I have also recorded and mixed a song and compared it to previous a version that was produced before the work on this thesis started. In the production of the new version I based my decisions regarding recording and mixing techniques in the sound-space model. Through a comparative analysis of the two productions I elucidate the effects of this application of sound-space as a record production tool for the new version, in particular emphasising the ways in which it affects the narrative(s) of the song, and the corporeal engagement of the listener, that is, how the listener is becoming corporeally “involved” in the sound-space of the recording. III IV Acknowledgements This thesis could not have been completed without the help and support of a number of people. First of all, I owe profound gratitude to my two excellent supervisors, Anne Danielsen and Eirik Askerøi, for thorough critical reading and constructive feedback. Both have invested a lot of time in this project, and their engagement for my work has been a true source of inspiration. Thanks to Kevin Steinman for copyediting this thesis and thus considerably improving my language. Thanks also to Professor Allan F. Moore for clarifying answers regarding the “diagonal mix”. A draft of this thesis was presented at the 10th Art of Record Production conference at Drexel University, Philadelphia in November 2016. I want to thank the organizers of the conference as well as other participants for valuable feedback and inspiring conversations. I also want to thank current and former co-students for rewarding conversations and opinions. Special thanks go to Bjørnar Sandvik for being a valuable sparring partner as well as a great travel companion to the ARP conference. I am very grateful to my good friends and co-musicians in Dingus for letting me use our music in this thesis, and for trusting me with the responsibility of recording and mixing it. I have also benefited a lot from recording a range of fantastic musicians over the past two years. Lastly, I want to express my profound appreciation to friends and family for their invaluable support. Oslo, April 24, 2016 Emil Kraugerud V VI Contents 1 Introduction ....................................................................................................................... 1 1.1 Aims and research questions ................................................................................................. 2 1.2 Theory and method ................................................................................................................. 2 1.2.1 Theoretical background ..................................................................................................... 2 1.2.2 Some reflections on method .............................................................................................. 4 1.3 Delimitations ........................................................................................................................... 5 1.4 Terminology ............................................................................................................................ 6 1.4.1 Sound ................................................................................................................................. 7 1.4.2 Recorded space .................................................................................................................. 8 1.4.3 Sound-box, sound-room, sound-space, and space-form .................................................... 9 1.5 Outline of the thesis .............................................................................................................. 10 2 Approaching space in record production ...................................................................... 12 2.1 Sound-box and sound-room as analytical models ............................................................. 12 2.1.1 Sound-box ........................................................................................................................ 13 2.1.2 Sound-room ..................................................................................................................... 17 2.1.3 Other spatial approaches .................................................................................................. 20 2.1.4 Disadvantages .................................................................................................................. 21 2.2 Raising awareness of spatiality in record production ....................................................... 23 2.2.1 Producing space ............................................................................................................... 24 2.2.2 Cultural meanings of space .............................................................................................. 26 3 Making sense of space ..................................................................................................... 32 3.1 Acoustics and binaural hearing ........................................................................................... 32 3.1.1 Acoustics .......................................................................................................................... 32 3.1.2 Binaural hearing and horizontal localization ................................................................... 34 3.2 Dimensions ............................................................................................................................. 35 3.2.1 Time ................................................................................................................................. 35 3.2.2 Depth ................................................................................................................................ 37 3.2.3 Width ............................................................................................................................... 39 3.2.4 Height .............................................................................................................................. 41 3.2.5 Density ............................................................................................................................. 42 3.2 Development of a normative mix ......................................................................................... 43 3.2.6 Functional staging of sound ............................................................................................. 44 3.2.7 Mix types ......................................................................................................................... 45 3.3 Transtextual relations in the recorded space ..................................................................... 49 3.3.1 The realism of virtual spaces ........................................................................................... 53 3.3.2 Sonic markers and transtextuality .................................................................................... 57 3.4 The corporeality of recorded space ..................................................................................... 62 3.5 Definition of sound-space ..................................................................................................... 67 4 Working with space in recording practice .................................................................... 69 4.1 Methodology .......................................................................................................................... 69 4.2 Review of practical work ...................................................................................................... 72 4.2.1 Production process ........................................................................................................... 72 4.3 Comparative analysis ........................................................................................................... 79 5 Concluding remarks ........................................................................................................ 89 Bibliography ........................................................................................................................... 95 Videography ..........................................................................................................................
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