AES Midlands welcomes Kirk McNally

AES Midlands welcomes Kirk McNally

Date: 30 Sep 2018
Time: 13:00

Location: Royal Birmingham Conservatoire
Royal Birmingham Conservatoire

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AES Midlands welcomes Kirk McNally

Date: 30th September 2018
Time: 13.00
Venue: Royal Birmingham Conservatoire

This talk explores using Michel Chion’s scheme for modes of listening in relation to the work of recording engineers and producers in the studio. Using Chion’s concepts of semantic and reduced listening (Chion 1994) as a starting point, we critically evaluate the way in which recording engineers and music producers interact with two specific musical elements in the studio: kick and snare drum sounds. A previous study has shown a correlation between the subjective evaluation of reverb usage in music mixing and measured objective parameters (De Man, McNally and Reiss 2017). This supports the idea that engineers and music producers rely upon a set of socio-cultural and learned parameters when making aesthetic decisions about the recording and mixing of music. Turning to the literature, we see evidence of this concept in the writing of Mike Howlett, who identifies a music producer as, “an individual with the confidence to say, ‘I like this one'”‘ (Howlett 2009). Using a collection of multitrack audio files, and mixes made from these recordings (De Man 2017), we systematically evaluate the variation of technical changes made to kick and snare drum sounds by recording engineers. The use of a recent recording session by McNally provides the opportunity to scale Chion’s modes of listening within a specific case, observe technical changes over the course of the recording, and compare this to the larger collection in order to gain insight into the parameters used by recording engineers and producers working in the recording studio.

No registration required.

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