This is true. It is not what most of us do.
But it really would help what people do if they
knew what various techniques did to simple
but revealing sources.
I cannot see how anyone would not feel
that this would be useful information!
Robert
On Wed, 3 Jul 2013, Richard G Elen wrote:
On 03/07/2013 05:31, Robert Greene wrote:
If people want to treat recording as a pure art form
where one simply judges the results on aesthetic grounds.
it would be hard to say that was wrong. But it surely
takes recording out of the realm of science.
I am not sure that recording is a science per se. That's not to say that
there isn't, or cannot be, or shouldn't be, such a thing as a "science of
recording", but it's not what most of us actually do.
What we actually do is fundamentally artistic, though it uses an array of
more or less technical tools and relies on a good deal of engineering to
produce those tools. This of course is true of virtually any art: all rely on
some kind of technology, whether it's what makes a hammer hit a tuned string
or the materials that are combined to make a paint of a certain colour. But
technology is not simply applied science, and in these areas we are not,
generally, interested in "how it works" (the science) though those who make
the tools no doubt are: we are interested in "how it can be worked" - how you
use the tools to get what you are looking for, and then, most importantly the
art of using them to get something that communicates emotionally and
effectively at the end.
If we are communicating emotion, there is a path along which that emotion
travels. Perhaps it is from the performance of musicians in a certain
acoustic environment, captured in a certain way and designed to be listened
to in a certain way, as determined at least partially by the musicians and
the team in the control room. If they decide, arbitrarily or otherwise, that
what they are hearing (and thus, ideally, what you will hear at home - the
destination of that emotional communication) communicates the emotion they
wish to communicate, then that's it - its closeness to what you might hear
acoustically in the vicinity of the musicians is irrelevant as far as the
emotion is concerned (although it might be relevant to the techniques used to
create and capture the performance).
--R
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