Aesthetics of Sound

The unnecessary connection between ends and means is one the deepest impressions of a person wandering into a studio of video mixing. Sometimes the creation of an ordinary scene with a natural simplicity between two people and dozens of soundtracks is all that is required to blend the components into one. Getting a good final result is a process that can either be simple or complex and complicated.

Since the invention of the film sound, the general level of complexity in the aesthetics of sound has increased steadily over the last seven decades. It all started in the 1970’s with the Dolby Stereo, then in the 80’s there was  computerized mixing, and in the 90’s there were developments in the field to include various digital formats. This trend continues till nowadayswhere the sound effects can be improved to thousands of times better. The film business is not unique and as a result, the “hormonal level” of audio-vision has been changing over the years. This also depends on various parameters or ‘logjam’ moments.

How to go and how I can use these logjams in my class projects is explained below:

Code and Body

When you relate sound to light, you will find a specific relationship relevant to this study. Light is actually a simultaneous tangled superimpose of each color wavelength of light. This ranges from the shortest visible light wavelength, violet, all the way to the longest wavelength, whicht is red. With this in mind, every imaginable sound heard simultaneously can be shone through some kind of magic prism in order to reveal its exact hidden spectrum. We will use this concept to create various sound brackets, from the lowest audible to the highest audible sound frequencies. This will enable us to come up with unique sounds. With sound being basically a code with a specific set of rules, we will seek to understand those particular rules so as to unmask the language husk and extract the hidden message.

Harmonic and Non-Harmonic

The harmony in sound is so related with color. By just looking outside you notice various distinct areas of color. For instance, you can notice a yellow dress hanging on a clothing line. The dress and the sky do not occupy the same image areas because if they did, and supposing the dress was transparent, then the yellow and blue wavelengths would together create green, which is a new color altogether. (Murch, 2000). Sounds can also be superimposed.

We shall adopt this concept to create soundtracks that are dependent on the transparent superimposition of different sounds with each other. Through this we will create ‘chords’ that are new without having to transform them into something different. We will repeat the process diligently to make sure that the superimpose is harmonic.

Sometimes we may fail to recognize a distinctive sound because of too much detail or lack of it. For instance, a human mind can keep track of the footsteps of one ormaybe two people. However, with three or more people, the mind just gives up.(Chion, 1994). This is because more peoples’ footsteps reduce the clarity required to keep proper track. In our project we shall seek to create clarity in sound by regulating the musical chords in such a way that the soundtrack is clear to someone.

Density and clarity also play a major role in the aesthetics of sound. (Murch, 2000). Generally, when a sound is “warm”, it receives a multitrack full sterio treatment, while the vice versa is also true. By developing six layers of sound, density can be achieved though at the expense of clarity. I will therefore create five layers so as not to compromise on clarity, whereas ensuring a “warm” sound at the same time.