Abstract
Composers of electro-acoustic music have long relied on field recording to capture source materials for processing and mixing, incorporating these into their compositions and sound-design libraries. Recent technological advances in high-quality, multichannel field recording have afforded unprecedented opportunity to capture surround audio content in high definition. In this paper, we discuss a recent experience in field recording, incorporating a discussion of aesthetic and practical issues afforded by these new technologies.
| Original language | English (US) |
|---|---|
| Title of host publication | International Computer Music Conference, ICMC 2006 |
| Publisher | International Computer Music Association |
| Pages | 661-665 |
| Number of pages | 5 |
| State | Published - 2006 |
| Event | International Computer Music Conference, ICMC 2006 - New Orleans, United States Duration: Nov 6 2006 → Nov 11 2006 |
Other
| Other | International Computer Music Conference, ICMC 2006 |
|---|---|
| Country | United States |
| City | New Orleans |
| Period | 11/6/06 → 11/11/06 |
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ASJC Scopus subject areas
- Media Technology
- Computer Science Applications
- Music
Cite this
The sound recordist as composer : Aesthestic and practical concerns. / Leider, Colby; Burns, Kristine H.
International Computer Music Conference, ICMC 2006. International Computer Music Association, 2006. p. 661-665.Research output: Chapter in Book/Report/Conference proceeding › Conference contribution
}
TY - GEN
T1 - The sound recordist as composer
T2 - Aesthestic and practical concerns
AU - Leider, Colby
AU - Burns, Kristine H.
PY - 2006
Y1 - 2006
N2 - Composers of electro-acoustic music have long relied on field recording to capture source materials for processing and mixing, incorporating these into their compositions and sound-design libraries. Recent technological advances in high-quality, multichannel field recording have afforded unprecedented opportunity to capture surround audio content in high definition. In this paper, we discuss a recent experience in field recording, incorporating a discussion of aesthetic and practical issues afforded by these new technologies.
AB - Composers of electro-acoustic music have long relied on field recording to capture source materials for processing and mixing, incorporating these into their compositions and sound-design libraries. Recent technological advances in high-quality, multichannel field recording have afforded unprecedented opportunity to capture surround audio content in high definition. In this paper, we discuss a recent experience in field recording, incorporating a discussion of aesthetic and practical issues afforded by these new technologies.
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UR - http://www.scopus.com/inward/citedby.url?scp=84923623517&partnerID=8YFLogxK
M3 - Conference contribution
SP - 661
EP - 665
BT - International Computer Music Conference, ICMC 2006
PB - International Computer Music Association
ER -