The Art of Recording Chapter 8

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As long as the segment of the graph can remain clear, it is possible for any number of sound sources to appear on any graph. When more than one sound source appears against the same two axes, the sound sources must be differentiated.

Sound sources may be differentiated in a number of ways. Each of these ways may be useful depending on the resources of the reader, the nature of the sound event, and the context of the sound event.

The lines that denote each sound source may be labelled. The labelling of lines is accomplished by placing a "number" or the "name" of each sound source near the appropriate line on the graph. This type of differentiation is useful for graphs that contain only a few sound sources.

Providing a different line configuration for each sound source is often a suitable way of differentiating a number of sources on the same tier of an x-y graph. Combinations of dots and dashes, or the insertion of geometric shapes into the source-lines are useful for differentiating up to about eight sound sources on the same graph.

Sound sources are most easily differentiated by adding a variety of colors to the graph. Assigning a different color to each sound source is the clearest way of placing a large number of sound sources on the same graph. The number of sources that could be placed on the same graph is limited only by the number of easily recognized colors available.

The use of different colors has the further advantage of being able to define groups of sound sources by assigning a color to the group and assigning a different line configuration (combination of dots and dashes) to the individual sound source.

The use of color is not always feasible, but it is the preferred method of placing a number of sound sources on the same graph. Utilizing varied and distinct line configurations for each sound source is the next, most flexible and clear method of differentiating sound sources. Combinations of color and line configurations will produce the most organized and most useful graphs. Individual sound sources must always be easily distinguished on line graphs; readily identifiable lines that have been precisely defined (through a key, below) will ensure the clarity and usefulness of the graph.

The same sound sources may be depicted on a number of tiers on a muti-tier graph. In this case, care must be taken to define each sound source, and to depict the sound sources in the same way on each tier (either by the same name, color or line configuration). This will allow the reader of the graph to quickly and accurately determine the states and activities of all of the sound sources (or aspects of the sound sources) over time. A key of the sound sources plotted should be created to ensure this clarity.

The varying line thicknesses as a means of differentiating sound sources by providing each source with a line of a different thickness should NOT be used. This technique will obscure the information of the graph. Varying line thicknesses will cause the sound to visually appear to occupy an area of the vertical axis (a state that is only accurate for a few select components of sound).

A key is the listing of sound sources of the sound event, coupled with a chart of how the individual sound sources are represented on the line graph (see Figure 8-2). This listing of sound sources with their designations must be included in each line graph that contains more than one sound source (unless the lines are labelled).

The act of listing sound sources takes place as one of the first activities to be undertaken in the entire process of evaluating sound. Sound sources are the individual elements of activity within the level of perspective that is the focus of the sound evaluation. A listing of the sources (elements to be analyzed) will draw the listener into the evaluation process quickly and directly, and it should become one of the very first steps of the evaluation of sound.

Plotting the individual sources against the time line, without concern as to states of value and activity of the various component parts of the sound event, will allow the listener to compile preliminary information on the material without getting overwhelmed by detail. This process is an excellent first step in getting acquainted with the activity of writing down material that is being heard (the taking of dictation). It may become a common initial activity, each time the listener undertakes a detailed evaluation of a sound event. The ability to perform the following exercise will be assumed throughout the remainder of the book, as this process will be repeated, at least conceptually, before almost all future exercises.

As a common activity, the reader should (1) create a listing of the sound sources of a sound event, (2) create a time line of the event, and (3) plot the defined sound sources against the time line. The reader should practice Exercise 8-2, and become comfortable with the process.

Exercise 8-2. Exercise for Recognizing the Presence of Sound Sources Against the Time Line.

The following Figure provides an example of the placement of sound sources against a time line. The listener will be able to reference the figure against The Beatles' recording: "She Said She Said." The recordist must be able to quickly recognize sound sources, and focus on their activity. As an exercise, complete the graph by plotting the presence of the high hat part against the time line.

Figure 8-3. Placement of Sound Sources Against Time Line - The Beatles: "She Said She Said." (click on image for full size)

Completing the Process Graphs will often need to be supplemented by verbal descriptions and evaluations of the sound event. Simply graphing the sound event does not complete the evaluation process. The contents of the graphs need to be described through observations of the content and activity of the sound sources. In all instances, the language and concepts used to define and describe the sound event must be completely objective in nature. All descriptions refer to the actual states of existence and the changes in states, of the components of the sound event. The descriptions lead to overall observations about the qualities of the sound event itself, and its relationships to the context in which it is presented. The listener must never use subjective impressions or descriptions of the sound event, in completing the evaluation process. Such impressions are unique to each individual, cannot be accurately communicated between individuals (they mean something different to all people), and they do not contribute to an understanding and recognition of the characteristics of the sound event.

Subjective impressions or descriptions do not contribute pertinent, meaningful information about the sound. Evaluations or descriptions that are based on an individual's personal perceptions or impressions about a sound are meaningless for communicating concepts and ideas, and will not contribute to the understanding of the characteristics of sound. They have no place in the evaluation process.