Listen

[Listening circle Intro.1]

Listen . . . to tracks 54-56

for playback system set-up and calibration material; read the track descriptions for assistance.

[Listening circle 1.1]

Listen . . . to tracks 1 and 2

for the harmonic series played in individual frequencies and pitches, and as a chord.

 [Listening circle 1.2]

Listen . . . to track 34-36

for a realization of Figure 1-10, where the rhythms of these patterns of reflectionsare sounded separately and together.

[Listening circle 2.1]

Listen . . . to track 38

for musical balance relationships that are changed from the original performance. The drum mix has many unnatural relationships of performance intensity versus musical balance; some are over exaggerated to provide clarity of the topic.

[Listening circle 2.2]

Listen . . . to tracks 45, 46 and 53

for rhythmic patters of timbre and location created by the drum mixes.

[Listening circle 2.3]

Listen . . . to tracks 42 and 43

for narrow and wide spread images of a guitar;

or

to track 48

for a variety of spread image sizes of drum sounds and point source cymbal bells.

[Listening circle 2.4]

Listen . . . to tracks 39-41

for distance changes of a single cello performance

or

to track 48

for a variety of distance locations within a single drum mix.

[Listening circle 2.5]

Listen . . . to tracks 45-47

for several different space within space examples.

[Listening circle 5.1]

Listen . . . to tracks 4 - 13

for potential reference frequencies and reference pitches.

[Listening circle 5.2]

Listen . . . to tracks 14 - 18

for pitch register boundaries performed on a piano.

[Listening circle 6.1]

Listen . . . to tracks 26 – 33

For exercise in developing skills in judging (recognizing) short time units.

[Listening circle 7.1]

Listen . . . to tracks 19 - 25

for isolated drum and cymbal sounds that can be used as source material for pitch area evaluations.

[Listening circle 8.1]

Listen . . . to tracks 37 and 38

for one mix that closely aligns performance intensity and musical balance and a different mix of the same performance that radically alters the musical balance of the original performance.

[Listening circle 9.1]

Listen . . . to tracks 26-33 again

for the exercise in learning the sound quality of small time units. This will assist you in defining time lines for timbre and sound quality evaluations—and much more.

[Listening circle 9.2]

Listen . . . to tracks 1 and 2

for harmonic series played in individual frequencies and pitches, and as a chord. Work to recognize this pattern and spacing of intervals, and learn the “sound quality” of the chord that comprises the harmonic series.

[Listening circle 9.3]

Listen . . . to track 3

for the harmonics and overtones of the sustained piano notes. You will notice changes in the spectrum of the pitches over their long durations.

[Listening circle 10.1]

Listen . . . to tracks 42 – 44

for narrow and wide guitar phantom images, and a narrow image broadened by reverberation.

[Listening circle 10.2]

Listen . . . to tracks 45-47

for a number of different space within space relationships.

[Listening circle 10.3]

Listen . . . to track 39-41

for a single cello performance that is placed in Proximity, Near and Far distance locations.

[Listening circle 10.4]

Listen . . . to tracks 41, 44, 45, 45 and 47

for individual sounds and entire mixes with strong environmental characteristics.

[Listening circle 13.1]

Listen . . . to tracks 52 and 53, then 50 and 51

for the sound stage dimensions of one mix that simulates the relationships of a live sound stage and a second mix of the same musical balance that significantly alters the sound stage to unnatural proportions and relationships. Finally compare those mixes to two stereo microphone techniques.

[Listening circle 13.2]

Listen . . . to tracks 37 and 38

for the sound quality of the performance intensity of the instruments when they were recorded and how these coincide with the dynamics in the two mixes.

[Listening circle 13.3]

Listen . . . to tracks 50, 48 and 49

for a stereo microphone technique that does little to alter the character and sound qualities/relationships of the performance, a mix that establishes sounds at unnatural relationships, and a mix that adds a stereo microphone technique to the unnatural relationships in the mix of track 48.

[Listening circle 15.1]

Listen . . . to tracks 39 – 41

for differences in the sound quality of the three recordings of the same performance; these differences are all due to microphone selection (performance) and placement considerations.

[Listening circle 15.2]

Listen . . . to tracks 50 and 51

for unaltered stereo microphone technique recordings.

[Listening circle 15.3]

Listen . . . to track 50 and 37

for an accent microphone added to a stereo microphone technique: track 50 is an ORTF recording of drum set, track 37 adds an accent microphone to the ORTF recording of track 50.

[Listening circle 17.1]

Listen . . . to tracks 48-53

for these musical balance, pitch and sound quality, and spatial qualities groups and the elements they contain found in these six different mixes of the same drum performance. Note that all of the materials discussed in this section played directly into these different sound qualities. Observe these various production aesthetics and the sound stages and sound qualities that are created. Use any graphs from Part Three that might be helpful.