4. Listen & record #

Student’s presentations #

• Jeff Talman

Alvin Lucier - I am sitting in a room #

“I Am Sitting in a Room” is an experimental piece of music and sound art by Alvin Lucier, first performed in 1969. The work explores the natural resonant frequencies of a room and how they interact with the spoken word.

Lucier recorded himself narrating a text and then played the recording back into the room while re-recording it. This process was repeated multiple times, with each iteration resonating more strongly with the room’s natural frequencies. As the piece progresses, the words become less clear and the resonant frequencies of the room become more pronounced. The piece is unique every time it is performed, as it depends on the specific resonances of the particular room and recording setup used.

Alvin Lucier’s “I Am Sitting in a Room” is a landmark work that continues to inspire sound artists, musicians, and acousticians. The use of resonant frequencies in this piece underscores the importance of space in acoustic and musical experiences. The work exemplifies how scientific principles like resonance can be applied creatively to produce innovative art.

Resonant Frequencies Explained #

• Every enclosed space has its own unique resonant frequencies, which are the natural frequencies at which the space most efficiently vibrates.
• These frequencies are determined by the room’s dimensions, shape, and the materials of the walls, floor, and ceiling.
• In Lucier’s piece, these resonant frequencies are emphasized and made audible through the process of iterative feedback.

The Significance of the Work #

• “I Am Sitting in a Room” is a notable exploration of the acoustic properties of space and the phenomenology of sound.
• It demonstrates how sound is affected by the environment and how it can be shaped by the physical characteristics of a space.
• The piece is often cited as a profound example of minimalistic and conceptual art within the sound art and experimental music genres.

Reflections on Listening #

• Listeners are encouraged to focus on the transformation of sound rather than trying to understand the spoken words.
• The piece challenges traditional notions of musicality and intelligibility in the context of composition and performance.
• It asks the audience to consider the act of listening itself and to perceive the environment as an integral part of the musical experience.

Video experiment #

The ecology of mics #

Microphones are devices used to convert sound waves into electrical signals. They are essential tools in various fields, such as music production, broadcasting, and communication. Understanding different microphone types is crucial for selecting the right one for a specific application.

https://www.musicianonamission.com/types-of-microphones/

• Dynamic Microphones

  • Use electromagnetic induction to generate an electrical signal.
  • Typically rugged and can handle high sound pressure levels.
  • Ideal for live performances and capturing loud sources like drums and guitar amplifiers.

  

• Condenser Microphones

  • Use a capacitor to convert acoustic vibrations into electrical current.
  • Require a power source, often provided by phantom power (+48V) from a mixer or audio interface.
  • Highly sensitive and accurate, making them popular in studio settings.

• Ribbon Microphones

  • Employ a thin ribbon of metal suspended in a magnetic field to capture sound.
  • Known for their warm and natural sound reproduction.
  • Delicate and can be damaged by phantom power if not designed to be compatible.

  

• Shotgun Microphones

  • Highly directional microphones with a tube-like design.
  • Used in film and TV production to capture dialogue from a distance.
  • Have a narrow pickup pattern to focus on the sound source while minimizing background noise.

  

• USB Microphones

  • Connect directly to a computer via USB without the need for an external audio interface.
  • Ideal for podcasting, streaming, and home recording.
  • Offer a simple and convenient solution for quality audio recording.

• Wireless Microphones

  • Transmit audio signals over radio frequencies or digital transmission.
  • Provide mobility for the user, commonly used in live stage performances, events, and broadcast.
  • Require careful setup to avoid interference and ensure a reliable connection.

  

• Lavalier Microphones

  • Small, clip-on microphones used for television, theatre, and public speaking.
  • Can be attached to clothing and allow hands-free operation.
  • Generally omnidirectional and designed to pick up speech clearly.

Microphone Polar Patterns #

• The polar pattern of a microphone determines how it picks up sound from different directions.
• Common patterns include cardioid, supercardioid, omnidirectional, and bidirectional (figure-8).
• Selection depends on the desired sound source isolation and ambient noise rejection.
• https://www.howtogeek.com/what-are-microphone-polar-patterns-and-how-do-they-affect-your-recordings/

Considerations for Choosing a Microphone #

• Determine the application: live performance, studio recording, field recording, broadcasting, etc.
• Consider the sound source: instruments, vocals, speech, ambient sounds.
• Account for the environment: indoors, outdoors, controlled studio, noisy venue.
• Think about connectivity and compatibility with other audio equipment.

• Conclusion

  • The choice of microphone significantly impacts the quality of the audio captured.
  • Each type of microphone has its strengths and ideal use cases.
  • Experimenting with different microphones can help in understanding their characteristics and finding the right match for your needs.

SPL #

The decibel scale is logarithmic, so a difference of 10 dB represents a tenfold increase in power, but in terms of perceived loudness, a difference of about 10 dB typically corresponds to what most people would describe as “twice as loud.”

In the context of microphone specifications, a max SPL of 122 dB vs. 110 dB means that the microphone with the higher max SPL can handle sounds that are more intense without distortion. This might be important if you are recording very loud sounds, such as live music, engines, or other loud environments.

Participants are asked to be citizens of the classroom, to participate in our group discussion and take an active role in shaping our collective experience.

Microphone Windshields and Deadcats #

• Microphone Windshield

  • A windshield, also known as a windscreen, is a device used to protect microphones from wind noise.
  • It is typically made of foam and fits snugly over the microphone’s grill.
  • Windshields are used in both indoor and outdoor environments to reduce unwanted noise from drafts, breath, or plosives during recording.

  

• Deadcat

  • A deadcat, or wind muff, is a furry covering that goes over the microphone or its existing foam windshield.

  • The long fur material is designed to diffuse wind noise even in high-wind conditions outdoors.

  • Particularly useful for field recordings, outdoor interviews, or filming to achieve clear audio without wind interference.

    

Audio cables #

• Balanced vs. Unbalanced Audio Cables

  • Unbalanced Cables

    • Consist of two wires: a signal wire and a ground wire.
    • Common types include TS (Tip-Sleeve) cables like standard guitar cables and RCA cables.
    • Prone to noise interference, especially over long distances.
    • Suitable for short runs and consumer audio devices.

  • Balanced Cables

    • Consist of three wires: two signal wires and a ground wire.
    • Signal wires carry the same audio signal but in opposite phases (positive and negative).
    • Noise that is picked up along the cable run is out of phase and canceled out at the destination.
    • Common types include XLR cables and TRS (Tip-Ring-Sleeve) 1/4 inch cables.
    • Ideal for professional audio setups and long cable runs due to noise reduction capabilities.

• Types

  https://www.audiostance.com/audio-connectors-and-cables/

  • XLR Cable

    • XLR cables are professional audio cables used for balanced audio signals.
    • They typically have three pins: two for the signal and one for ground, providing a balanced connection that reduces noise.
    • Commonly used for microphones, mixers, amplifiers, and professional audio equipment.

    

  • JACK 6.35mm (1/4 inch)

    • Also known as phone connectors, these cables can carry both balanced and unbalanced audio signals.
    • They are widely used for electric guitars, professional audio equipment, and headphones.
    • There are two main types: TS (Tip-Sleeve) for unbalanced mono signals, and TRS (Tip-Ring-Sleeve) for balanced audio or stereo signals.

    

  • MiniJACK 3.5mm

    • Minijack cables are smaller versions of the 1/4 inch jack cables, also available in TS and TRS configurations.
    • They are the standard for consumer headphones, computer audio outputs, and many portable devices.
    • TRRS (Tip-Ring-Ring-Sleeve) versions can also carry microphone signals, commonly used in smartphone headsets.

    

  • Cinch (RCA)

    • RCA cables carry unbalanced audio signals and are color-coded – usually red for the right channel and white or black for the left.
    • They are commonly used in home audio systems, for connecting CD players, DVD players, or TVs to amplifiers or receivers.
    • Often found in pairs for stereo connections, but can also be used for composite video transmission.