Muzikos ir garso kontekstai

10.19

Sound and concerts

Why we go to concerts?

Because it‘s a unique experience at a specific place at specific time.

Live album:

 Incorporates the presence of space and audience

 Accepts different sound perspective – balance between the instruments
 It‘s live. Rare adjustments and retakes are possible

Studio album:

Technical rider – everything what is needed for the concert performance (equipment, water, chair)

Hospitality rider

Sonification process – making sure audience is hearing the performance as its intended (amplifying
the instruments)

 Instruments sound loud and clear

 The instruments cause no distortion or outbalance to the other sonic elements, audience
positions
 Appropriate balance between the instruments to the music style (mixing). (metal music, jazz,
classical, etc.)

Amplification:

 Natural (acoustic space of concert hall)

 Gain amplification – preamp of mics
-Dynamic microphones (membraine that captures the vibration)
-Condensed microphones (more ranged sound, phantom power)

Monitors – speakers used for performances, headphones. The direct sound feedback to the players
via speakers.

Compression of the sound

Subtractive EQ (equalizer) – removing resonances and calibrating several predominant registered

Most important microphone placement – two microphones at an angle (one to left, the other to
right) in front of performers. There can be other microphones for each musician for later
modifications of recordings (enhancing the violin, etc)

10.26

PA Sound

 Exhibitions
 Seminars
 Conferences
 Presentations
 Filming
 Concerts
 Theatrical performances
 Sports, entertainment, cultural
 Parties

Movie ‘1917’

 Threat: unbroken shot required sounds that are not too aggressive. without the ability to cut
to a different location to reset, the team had to be careful not to overwhelm the movie with
sound.
 All the sounds were kept as shot (in the field)
 For the German weapons, they focused on recording them from multiple ambient locations
rather than up close, allowing us to hear the threat as Schofield would.
 Microphones: shotgun, dynamic, lavalier
 In working out where to place personal mics, he got the costume department to build them
into the uniforms and helmets, utilizing a series of antenna and large amounts of wiring
across the expansive sets to keep a strong signal going. (challenge)
 Uncontrolled: live gunfire, planes, wind, rain (weather conditions)
 Strength: strong effect
 Opportunity: for the live audience to experience the unbroken shot
 Weaknesses: need for portability.

Jis niekadnelinksi kai kalbi. Atrodo kad nusisneki

11-09

Recording guidelines

Safety and recommendations

Field recording – recording outside

Recording Techniques and considerations

Three stage process:

 Recording of the ‘sound objects’

 The transferring, logging, managing of the sound files. Transferring – deciding which files to
keep.
 The reviewing of those sound files and their potential

What to consider when undertaking field recordings:

Wav files capture higher frequency recordings/longer recordings

44.1Hz 16-bit – standard format. When editing its easier to remove things/equalize, etc.

Its better to record in better quality and compress later.

Dead cat microphone – difuses the sound

Backups:

At least 4 copies

Cloud system – hard drive on computer – 2 safe

11-16

ELECTROACOUSTIC MUSIC

 Music is noise with organization/system and has an aesthetic meaning.

 Edgar Varese
 Musique concrete
 Acousmatic sound – hearing the sound without seeing its source
 Deacousmatization – when you see the singer
 Luciano Berio
11-23

Walter Ruttmann – opus 3 (1994)

Geometrical figures

Experimental cinema

Egzaminas – sukurti muzika filmui

Idiomatic music/Not idiomatic

Idiomatic music – can relate to a specific genre, idioms used for instruments – comfortable
technique, registers

Non idiomatic – cant relate to a specific genre

Cornellius