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- W2320161792 abstract "When a stereophonic track is heard through headphones or over loudspeakers, the image of a virtual performance is created in the mind. This virtual performance, which exists exclusively on the record, can be conceptualised in terms of the ‘sound-box’ (Moore 1993), a four-dimensional virtual space within which sounds can be located through: lateral placement within the stereo field; foreground and background placement due to volume and distortion; height according to sound vibration frequency; and time. From the mid-1960s, the increasing shift from mono to stereo meant that producers and engineers had to contend with the notion and potential of a song’s sonic arrangement or mix, resulting in a disparity of sonic placement and a diverse range of sound-box configurations. By 1972, a normative positioning of sound sources within the sound-box was established, which we term the ‘diagonal mix’. This article focuses on the consolidation of this norm by means of a ‘taxonomy of mixes’ and the utilisation of visual representations which detail the sound-box configurations of a variety of pop/rock, easy listening and psychedelic tracks from 1966 to 1972." @default.
- W2320161792 created "2016-06-24" @default.
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- W2320161792 date "2010-01-01" @default.
- W2320161792 modified "2023-09-27" @default.
- W2320161792 title "RUTH D OCKWRA Y a nd A LLAN F. M OORE" @default.
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