ARP Conference Paper
link here
This paper
discusses the construction of space with sound and the arrangement of elements
within that space, and compares the use of space in audio recording and film
sound.
“For
example, voices are treated differently in the two media, albeit they
cross-pollinate. A reverberant voice in the iconic Chess or Sun rock
‘n’ roll music style is not generally employed in cinema
and would not be read the same way. Reverberant voices tend to be used in film
voiceovers to represent inner thoughts or might be used to evoke an eerie,
uncanny or disembodied threat, or, if synchronised to picture, perhaps a
visiting alien or malevolent spirit rather than the teenage angst of the
spirited outsider or their chorus.” (Bates 2007 pg.1)
“In the
ancient world there were deep linkages between reverberant space and the sacred
or magical.” (Bates 2007 pg.2)
“And so, in
those early recordings, as Peter Doyle argues, the recordings “came imbued with
their own spatial codes; they constructed their own proscenium arch” (Doyle
2005:50) with the various placements of instruments and the content of the
music composition constructed to superimpose fictional “sound pictures” onto
the playback space- or at least that was the promise.” (Bates 2007 pg.4)
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