Dynamic Range Processing and Its Influence on Perceived Timing in Electronic Dance Music

被引:4
作者
Brovig-Hanssen, Ragnhild [1 ]
Sandvik, Bjornar E. [1 ]
Aareskjold-Drecker, Jon Marius [2 ]
机构
[1] Univ Oslo, RITMO Interdisciplinary Ctr Rhythm Time & Mot, Dept Musicol, POB 1017, N-0315 Oslo, Norway
[2] Univ Agder, Dept Popular Mus, Postboks 422, N-4604 Kristiansand, Norway
来源
MUSIC THEORY ONLINE | 2020年 / 26卷 / 02期
关键词
groove; rhythm; microrhythm; timing; perception; analysis; sound; dynami sidechain compression; electronic dance music; RHYTHM; PERFORMANCE; ATTACK; ONSET; SOUND;
D O I
10.30535/mto.26.2.3
中图分类号
J6 [音乐];
学科分类号
摘要
In this article, we explore the extent to which dynamic range processing (such as compression and sidechain compression) influences our perception of a sound signal's temporal placement in music. Because compression reshapes the sound signal's envelope, scholars have previously noted that certain uses of sidechain compression can produce peculiar rhythmic effects. In this article, we have tried to interrogate and complicate this notion by linking a description of the workings and effects of dynamic range processing to empirical findings on the interaction between sound and perceived timing, and by analyzing multitracks and DAW project files, as well as released audio files, of selected EDM tracks. The analyses of the different EDM tracks demonstrated that sidechain compression affects the music in many possible ways, depending on the settings of the compressors' parameters, as well as the rhythmic pattern and the sonic complexity of both the trigger signal and the sidechained signal. Dynamic range processing's impact on groove and perceived timing indicates, in line with previous findings, that sound and timing interact in fundamental ways. Because of this interaction, then, we cannot limit ourselves to technical terms that describe how particular effects are achieved if we want to fully understand the grooves that are characteristic of EDM or other music. We must also consider how listeners experience these effects.
引用
收藏
页数:13
相关论文
共 47 条
  • [1] [Anonymous], 2011, NOTHING BEAT
  • [2] [Anonymous], 2010, PURSUIT HAPPINESS
  • [3] [Anonymous], 2004, Studia Musicologica Norvegica
  • [4] Bengtsson I., 1983, Studies of Music Performance, V39, P27
  • [5] Brovig-Hanssen Ragnhild, GRID FLUX SOUND TIMI
  • [6] Butler MarkJ., 2006, Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music
  • [7] Clarke E.F., 1988, Generative processes in music: The psychology of performance, improvisation, and composition, P1
  • [8] Cooper Grosvenor W, 1963, RHYTHMIC STRUCTURE M
  • [9] D'Errico M, 2015, CAMB COMPANION MUSIC, P280
  • [10] Where Is the Beat in That Note? Effects of Attack, Duration, and Frequency on the Perceived Timing of Musical and Quasi-Musical Sounds
    Danielsen, Anne
    Nymoen, Kristian
    Anderson, Evan
    Camara, Guilherme Schmidt
    Langerod, Martin Torvik
    Thompson, Marc R.
    London, Justin
    [J]. JOURNAL OF EXPERIMENTAL PSYCHOLOGY-HUMAN PERCEPTION AND PERFORMANCE, 2019, 45 (03) : 402 - 418