Psychology in Audio Engineering
Psychology in Studio Engineering
Robert P. Glisson
St. Pete College
Psychology in Studio EngineeringInsert your Title Here
Music is part of our everyday lives. We hear it ubiquitously; movies, television, video games, in our cars, in the grocery store, etc. A Studio Engineer’s job is not simply to record music, but they also have to do the tedious tasks of setting the atmosphere for the particular song, making sure everything sits in the mix properly, setting the levels, applying specific effects for added ‘feeling’ or ‘energy’ to the music, and the final stage of mastering to ensure the recordings are on-par with the music we hear on the radio today. There are other aspects that deal with the subject of psychology that a Studio Engineer has to take into consideration . There’s many ways psychology correlates with the production of music. Sensory stimuli, emotional response, positive interaction with the musicians, and the ever-changing bias of what people consider to be ‘good music’ are just some of the psychological aspects Studio Engineers have to incorporate into their work.
Music (dictionary.com, n.d.); “is an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.” Sound is made up of waves. Studio engineers use equalizers, compressors, limiters, and other effects in order to manipulate these waves. Equalizers are used to cut out bad frequencies (or boost good frequencies) to make it easier for the ear to comprehend everything the mix. Compressors are used to normalize the volume of incoming sound. As we listen to music we are taking in a large amount of sensory information. Not only do we hear music, we also feel music. Hearing, feeling, and vision are used in most musical instances. Hearing is often considered the most important sense in humans (Carey, 2008). As vibrations travel from our ear to our brain the information is combined with our sense of
Robert P. Glisson
St. Pete College
Psychology in Studio EngineeringInsert your Title Here
Music is part of our everyday lives. We hear it ubiquitously; movies, television, video games, in our cars, in the grocery store, etc. A Studio Engineer’s job is not simply to record music, but they also have to do the tedious tasks of setting the atmosphere for the particular song, making sure everything sits in the mix properly, setting the levels, applying specific effects for added ‘feeling’ or ‘energy’ to the music, and the final stage of mastering to ensure the recordings are on-par with the music we hear on the radio today. There are other aspects that deal with the subject of psychology that a Studio Engineer has to take into consideration . There’s many ways psychology correlates with the production of music. Sensory stimuli, emotional response, positive interaction with the musicians, and the ever-changing bias of what people consider to be ‘good music’ are just some of the psychological aspects Studio Engineers have to incorporate into their work.
Music (dictionary.com, n.d.); “is an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.” Sound is made up of waves. Studio engineers use equalizers, compressors, limiters, and other effects in order to manipulate these waves. Equalizers are used to cut out bad frequencies (or boost good frequencies) to make it easier for the ear to comprehend everything the mix. Compressors are used to normalize the volume of incoming sound. As we listen to music we are taking in a large amount of sensory information. Not only do we hear music, we also feel music. Hearing, feeling, and vision are used in most musical instances. Hearing is often considered the most important sense in humans (Carey, 2008). As vibrations travel from our ear to our brain the information is combined with our sense of
Cited: (n.d.). Retrieved from www.dictionary.com/ How babie 's senses develop. (2011). Retrieved from Pediatrix Medical Group: http://www.pediatrix.com/workfiles/medicalaffairs/B2_How%20babies%20senses%20develop.pdf Gilder, J. (n.d.). The Psychology of Recording. Retrieved from Home Studio Corner: http://www.homestudiocorner.com/the-psychology-of-recording/ Harrison, D. M. (1999, 2000). Psychology and Music. Retrieved from Aces and Eighths: http://www.acesandeighths.com/articles2.html Seashore, C. E. (1983). Psychology of Music. Dover Publications inc. Trent. (2010, December 27th). 2010′s Best-Selling Album: Lady GaGa’s ‘The Fame Monster’. Retrieved from That Grape Juice .net: http://thatgrapejuice.net/2010/12/2010s-bestselling-album-lady-gagas-the-fame-monster/