HEARING v. LISTENING


D.M.E. + LULL = SOUNDTRACK


MECHANICAL | PSYCHOLOGICAL

  • Projector(Early Days) / Audience(Today more than ever?)
  • Mood(Everyone gets this!) / Atmosphere (Designed reality)


"Foreground gives us a sense of conscience"  -Hearing The Movies

What Are Stems?

Dialogue | Music | Effects

  • Volume v. Loudness
  • Silence is ALWAYS designed!
  • Presence v. Ambience



The Art Of Catching
  Stingers
•  Leitmotifs
(Wagner)

  • Character theme (presence or absence) can also identify objects, locations, etc.



MUSICALITY

  • Emotional specificity
  • Time
  • Influence / organization
  • Formal & rhythmic continuity
  • Overlapping
  • Sound advance
  • Underscoring = non-diegetic
  • Background Music = accompaniment, commentative, dramatic scoring.
  • EVERYTHING INFLUENCES EVERYTHING


USING LOUDNESS: TEXTURAL GREYZONES


Loudness impacts:

  • Timbre
  • Frequency
  • Liveliness
  • Movement
  • Heft


AUDIENCE'S PERSPECTIVE:

  • Our hearing is measurable AND subjective.
  • Orchestration = TIMBRE




THE AUDIENCE'S REALITY:


OBJECTIVE(Hearing) v. SUBJECTIVE(Listening)


  • TEMPO (BPM) | PACE (fast/slow)
  • FREQUENCY (Hz) | PITCH (high/low)
  • AMPLITUDE (dB) | LOUDNESS (soft/loud)
  • HARMONIC COMPLEXITY (+/-) | TIMBRE(good/bad)







Music + Sound

COUDERAY

This is intended for educational purposes in my classroom.

NO retransmission or use in any other manner allowed.

All copyrights are retained by the original holders. -KK

Calibration is important!

  • Start with your ears first!
  • Garbage In/Out vs. Another designers “gold”
  • High Frequencies impact women differently than men
  • Consider frequency “clichés”
  • Mixing, balance, panorama, and emotional resonance 

 Enticing the suspension of disbelief since the dawn of digital