The sound recordist as composer: Aesthestic and practical concerns

Colby Leider; Kristine H. Burns

The sound recordist as composer: Aesthestic and practical concerns

Colby Leider, Kristine H. Burns

Music Media and Industry

Research output: Chapter in Book/Report/Conference proceeding › Conference contribution

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

ASJC Scopus subject areas

Media Technology
Computer Science Applications
Music

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title = "The sound recordist as composer: Aesthestic and practical concerns",

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.",

author = "Colby Leider and Burns, {Kristine H.}",

year = "2006",

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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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Y2 - 6 November 2006 through 11 November 2006

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