Subject: Re: ea / studies / mastering
From: Kevin Austin (firstname.lastname@example.org)
Date: Fri Feb 25 2005 - 20:11:12 EST
I think that this is prime reason for the study of acoustics,
psychoacoustics and ASA in general as central features of an
Electroacoustics Studies curriculum.
At 2:47 PM -0500 2/24/05, email@example.com wrote:
>Consequently, I think that in new styles and fields of music and sound art,
>[...] it's generally helpful to identify principles that make what
>one hears clearer and easier to follow... this is just a starting
>point, clarity is hardly the only purpose of craft but it is
>certainly a fundamental one.
and follow the previous thread on mastering...
and the originals ...
The Practice of Mastering in Electroacoustics (pdf document)
A Guide to Producing Stems (pdf document)
>More recent examples of "rules" for contemporary music making would be
>arranging recorded tracks not to overlap in critical frequency bands, or in
>beats, and to somewhat compress the dynamic range of the recording as a
>whole and the leading tracks in particular, thus leading to a CLEARER
>separatiaon of the tracks. There's a certain similarity here to traditional
>principles of orchestration....
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