Tipos de inventarios

The system for sound evaluations was created to supply objective infor-mation on the listening experience. It seeks to give the listener the tools to define what is being heard. This will lead to a better understanding of the unique qualities of recorded/reproduced sound, better communica-tion between people discussing sound, and enhanced control of the artistic aspects of making music recordings.

The elements of sound are all evaluated independently, using a variety of techniques. These isolated evaluations may then be related to evalua-tions of other elements, to observe how they interact. The standard X-Y graph used in so many different scientific contexts has been adapted for many of these evaluations, especially those that take place against time.

Other evaluations use unique diagrams such as the sound stage.

The system seeks to describe and define the activities of the five phys-ical dimensions of sound, as they are used in recording production/repro-duction. The system examines the changes of state and value of those dimensions of sound, as they appear in perception and in artistic expres-sion. Table 5-1 outlines how the various evaluations of the system relate to the aesthetic and artistic elements or perceived parameters of sound.

Table 5-1

Evaluation Techniques for the Elements of Sound

Element of Sound Evaluation Graphs and Processes

Time Time Line of Song; with structure,

phrase, and text indications Sound Sources Against Time Line

Pitch Melodic Contour

Pitch Area Pitch Density

Dynamics Dynamic Contour

Musical Balance

Performance Intensity versus Musical Balance

Sound Quality Sound Quality Evaluation

Spatial Properties Distance Location

Stereo Location Surround Location Sound Stage / Perceived Performance Environment Environmental Characteristics

The system starts with basic skills and builds on them. Skill in rec-ognizing musical materials and building a time line lead to the develop-ment of skills in pitch-related perception and dynamics. Interspersed throughout the system are skills preparing the reader to undertake sound quality evaluations. Finally, skills in recognizing spatial properties and environmental characteristics are addressed.

A complete listing of exercises appears after the Table of Contents.

They are arranged in the most effective order for skill development, and

the reader is encouraged to work through the exercises in the presented sequence. The exercises appear at the end of the chapters that contain explanations of the material. Some skills will take longer to learn than others, and the reader should be careful in assessing their progress. The assistance of someone that is already a skilled listener or teacher will at times be valuable. Any one exercise should be learned well before pro-gressing too far ahead, though mastery of skills is not necessary before moving ahead. Indeed, mastery of some of these skills might take years, and the reader is encouraged to return to those exercises throughout an extended period of time. The first exercises of Part 1 should be reviewed before continuing with the exercises of Part 2.

Notating or writing down the characteristics of a sound can greatly assist the listener in understanding the sound. These notations (written representations of the sound) can also be used for communicating with others about the sound, for evaluating the sound, remembering the char-acteristics of the sound, and even for recreating the sound. While the reader will not seek to perform a written evaluation of all sounds, the process of performing a detailed evaluation of the sound event will pro-vide information that would otherwise go unobserved. Notating sound material in graph form will be used for finely developing the reader’s sound evaluation skills. It will also provide the reader with a useful resource to assist in evaluating sound.

The system for evaluating sound has much in common with tradi-tional forms of music-related ear training. Some of the skills learned by musicians will transfer to this process. An ability to take traditional music dictation will be beneficial to learning the process of evaluating sound, but is not required. Traditional listening skills emphasize pitch relation-ships in musical contexts. This comprises a very small part of our con-cerns about sound in audio. The skills of making time judgments and an awareness of activities in pitch, dynamics, and timbre will need to be developed much further than traditional approaches allow.

Many musicians start their studies by mimicking or repeating music on recordings. Music is often learned by the person listening to record-ings and trying to playback what was heard. Many people have even learned to play musical instruments almost solely by listening to record-ings. Repeated listening to the same recording is something many people have previously done—whether to learn something or for enjoyment.

This experience will be important in the many exercises in developing skill in evaluating sound.

It is important that all information extracted from sound evaluations be objective. Audio professionals need to communicate about the charac-teristics of sound. Communications about how the sound makes them feel or whether or not they like the sound may come from clients or non-industry people and need to be interpreted into the audio professional’s

work activities, but the information is not relevant or valuable in the eval-uation of sound.

The reader must learn to never use subjective impressions or descrip-tions of the sound event in the evaluation process. Such impressions are unique to each individual and cannot be accurately communicated between individuals (they mean something different to all people). They do not contribute to an understanding and recognition of the character-istics of the sound event. Subjective impressions or descriptions do not contribute pertinent, meaningful information about the sound, and will not contribute to understanding the characteristics of sound. They have no place in the sound evaluation process.