Performance intensity is the dynamic level at which the sound source was performing when its was recorded. In many music productions, this dynamic level will be altered in the mixing process of the recording. The performance intensity of the sound source and the actual dynamic level of the sound source in the recording will most often not be identical and will send conflicting information to the listener.
The dynamic levels of the various sound sources of a recording will often be at relationships that contradict reality. Sounds of low perform-ance intensity often appear at higher dynamic levels in recordings than sounds that were originally recorded at high performance-intensity levels. This is especially found in vocal lines. This conflicting information may or might not be desirable, and the recordist should be aware of these relationships.
Important information can be determined by plotting performance intensity against musical balance for some or all of the sound sources of a recording. This will often provide significant information on the rela-tionships of sound sources and the overall dynamic and intensity levels of the work, as well as the mixing techniques of the recording.
Performance intensity is plotted as the dynamic levels of the sound sources, as the listener perceives the intensity of the original perform-ance. The listener will judge the intensity of the original performance through timbre cues. The listener will make judgments based on their prior knowledge of the sound qualities of instruments and voices as they exist when performed at various dynamic levels.
The reference for performance intensity is the listener’s knowledge of the particular instrument’s timbre, as that instrument is played at various levels of physical exertion and with various performance techniques. A reference dynamic level is not applicable to this element.
Musical balance is plotted as the dynamic levels of the sound sources, as the listener perceives their actual loudness levels in the recording itself, as discussed.
The performance intensity/musical balance graph incorporates:
1. Dynamic area designations in two tiers for the Y-axis, distributed to complement the characteristics of the musical example (one tier is dedicated to musical balance, one tier is dedicated to performance intensity);
2. Reference dynamic level of the musical balance tier is designated as a precise level on the Y-axis (an RDL is not relevant to the performance intensity tier);
3. X-axis of the graph is dedicated to a time line devised to follow an appropriate increment of the metric grid;
4. A single line is plotted against the two axes for each sound source, on each tier of the graph (each sound source will appear on both tiers;
the same number, composition, or color line is used for the source on each tier of the graph); and
5. A key is used to clearly relate the sound sources to their respective source line (the same key applies to both tiers of the graph).
Figure 7-5 will allow the listener to observe some of the differences between the recording’s actual loudness levels and the performance intensities (loudness levels) of the sound sources when they were recorded. A few key sound sources are graphed from The Beatles:
“Strawberry Fields Forever.” Some sound sources are at very different levels in each tier, and others show no significant change. Some sources contain subtle changes of dynamic levels and/or many nuances of per-formance intensity information, and the Mellotron exhibits few grada-tions of dynamics and intensity.
An exercise to develop skills in recognizing and evaluating perform-ance intensity versus musical balperform-ance information appears as Exercise 7-4 at the end of the chapter. As an additional exercise, the reader might determine the musical balance and performance intensities of the other sound sources in “Strawberry Fields Forever” during the measures of Figure 7-5.
The musical balance and the performance intensity graphs will func-tion at the same level of perspective as the pitch density graph. When evaluated jointly, these three artistic elements will allow the listener to extract much pertinent information about the mixing and recording processes, and the creative concepts of the music.
Exercises
The following exercises should be performed with care. You should become comfortable with the material covered.
Introduction
12345678910111213141516171819202122 4 44 42 44 43 42 44 4 voice electric guitar maracas snare Mellotron
KEY measures:
Performance Intensity Musical Balance
ChorusVerse 1
Figure 7-5 Performance intensity/musical balance—The Beatles, “Strawberry Fields Forever.”
Exercise 7-1
Reference Dynamic Level Exercise.
Select a recording you know well for initial attempts at determining the reference dynamic level of a piece of music. It would be best for the work to be less than four minutes duration.
1. Before listening to the piece, spend some time thinking about the overall character of the piece; consider the overall energy level, per-formance intensity, concept or message, and other important aspects of the song.
2. Listen to the song several times to confirm that the observations in your memory are reflected in the actual music and recording.
3. Reconsider your observations with each new hearing of the recording.
4. Attempt to determine a precise dynamic level for the RDL. Begin this process by working from the extreme levels—
ppp
andƒƒƒ—asking if the level exists in those areas.5. Once the dynamic area has been determined, work to define a precise level by asking if the RDL is below 50 percent in the level, or above.
Continue to work toward a specific level by narrowing the area fur-ther.
6. Leave the example and your answer for a period of time (several hours or several days). Listen to the song again. Reconsider the RDL previ-ously defined.
If you do not know a piece of music, many hearings will be required before initial observations can be made.
Exercise 7-2
Program Dynamic Contour Exercise.
Select a short song for initial attempts at creating a program dynamic contour graph. The entire song should be graphed for overall dynamic contour. The dynamic level of the entire recording, or the composite dynamic level of all sounds, will be the focus of this exercise.
1. During the first hearing(s), listen to the example to establish the length of the time line. At the same time, notice prominent instru-mentation and activity that will provide cues as to the overall inten-sity level of the performance.
2. Check the time line for accuracy and make any alterations. Establish the RDL of the work by working through the previous exercise.
3. Notice the activity of the program dynamic contour for boundaries of levels of activity and speed of activity. The boundary of speed will establish the smallest time unit required to accurately plot the smallest significant change of the element. The boundary of levels of activity will establish the smallest increment of the Y-axis required to plot the smallest change of the dynamic contour.
4. Begin plotting the dynamic contour on the graph, continually relating the perceived dynamic level to the RDL. First, establish prominent points within the contour. These reference points will be the highest or lowest levels, the beginning and ending levels, points immediately after silences, and other points that stand out from the remainder of the activity. Use the points of reference to judge the activity of the preceding and following material. Focus on the con-tour, speed, and amounts of level changes to complete the plotting of the contour.
5. The evaluation is complete when the smallest significant detail has been perceived, understood, and added to the graph.
Exercise 7-3
Musical Balance Exercise.
Select a popular song with at least three instruments and voice. The first 32 bars will be evaluated for musical balance. This exercise will graph the dynamic contours—actual loudness levels—of all sound sources. Musical balance is the relationships of sound sources to one another. Initial attempts should use pieces of music with only a few sound sources.
The exercise will follow the sequence:
1. During the first hearing(s), listen to the example to establish the length of the time line. At the same time, notice prominent instru-mentation and activity of their dynamic levels against the time line.
2. Check the time line for accuracy and make any alterations. Establish a complete list of sound sources (instruments and voices), and sketch the presence of the sound sources against the completed time line. A key should be created, assigning each sound source with its own number, color, or line format.
3. Determine the reference dynamic level of the sound using the process previously presented.
4. Notice the activity of the dynamic levels of the sound sources (instru-ments and voices) for boundaries of levels of activity and speed of activity. The boundary of speed will establish the smallest time unit required to accurately plot the smallest significant change of dynamic level. The boundary of levels of activity will establish the smallest increment of the Y-axis required to plot the smallest change of dynamics.
5. Begin plotting the dynamic contours of each instrument or voice on the graph. Keeping the RDL clearly in mind, establish the beginning dynamic levels of each sound source. Next, determine other promi-nent points of reference. Use the points of reference to judge the activity of the preceding and following material. Focus on the con-tour, speed, and amounts of level changes to complete the plotting of the dynamic contours.
6. You should periodically shift your focus to compare the dynamic levels of the sound sources to one another. This will aid in developing the dynamic contours and will keep you focused on the relationships of dynamic levels of the various sources. The evaluation is complete when the smallest significant detail has been incorporated into the graph.
It is important to remain focused on the actual loudness of instruments, making certain your attention is not drawn to other aspects of sound.
As you gain experience and confidence in making these evaluations, songs with more instruments should be examined and longer sections of the works should be evaluated.
Exercise 7-4
Performance Intensity versus Musical Balance Exercise.
Select a multitrack recording of a popular song with at least five sound sources. The first 16 bars will be evaluated for performance intensity and musical balance. Select five sound sources to graph for this exercise. The graph will have two tiers: one will graph musical balance (the actual ness levels in the recording), the other performance intensity (the loud-ness levels of the instruments when they were recorded).
1. The musical balance exercise should first be completed as in the pre-vious section. This will generate the graph’s time line, as well as pro-vide all information and contours for the musical balance tier.
2. Performance intensity will now be determined for each sound source, for the performance intensity tier. Sound sources will have the same number, color, or line format as on the musical balance tier.
3. Begin plotting the performance intensity of each sound source on the graph. Start by establishing the beginning performance intensity levels of each sound source. Next, determine other prominent points of reference. Use the points of reference to judge the activity of the preceding and following material. Focus on the contour, speed, and amounts of level changes to complete the plotting of these perform-ance intensity contours. The evaluation is complete when the smallest significant detail has been incorporated into the graph.
You can now compare the two tiers, and learn significant information on how the instruments were tracked, and how the instruments were altered by the recording and mixing processes.
As you gain experience in making these evaluations, all of the sound sources of songs with many instruments should be examined for longer sections of songs that have significant changes in the mix.