 |
| Author | Post |
|---|
artmorris
Administrator
|
Posted: Thu Sep 20th, 2007 02:53 pm |
|
I recently read on article titled “Social Spaciality Belongs in Radio Broadcasting” (Dec13, 2006 Radio World Engineering Extra) where writer Barry Blesser notes that radio needs more ‘soundscapes’. At first, I thought it might be an academic discussion about aural concepts. But, the more I read his article, the more I agreed with him.
His argument is that sound never occurs in a vacuum, that is, sound requires action. Even if blindfolded, your ears can tell you a lot about your surroundings. The natural sound helps define the experience. In broadcast radio, he says, “unintentionally, and perhaps in the name of audio quality, the aural experience is stripped of special and social context, which often has as much emotional impact as the content.”
There are exceptions, of course, like radio dramas that featured effects designed to create ‘aural landscapes’. And sports events, where the sound of the crowd, the crack of the bat, or other sounds of the game add immeasurably in transporting the listener to the event. I think also of Clyde Clifford’s “Beaker Street” program on KAAY, where mysterious music was used to mask the sound of the transmitter noise, but became an integral part of the listening experience.
In normal, everyday radio, however, we tend to remove all natural sound. In the beginning of radio, this may have been done to increase intelligibility, but that hasn’t been a problem for years.
I remember a few years ago, when Jerrell Shepherd removed all the glass from his on-air studios. He wanted the listener to hear the sound of a working radio station whenever the mic was opened. Though it went against everything I had ever been taught, I kinda liked the idea.
Whenever I hosted a ‘Bids for Bargains’ type show, I always made sure that the audience could clearly hear the phones ringing, people talking, lots of noise and fun. I always thought that added to the listening experience.
Television has embraced the idea of creating a ‘social space’, even by sending a reporter to the scene of an event, and creating the scene with sound and pictures.
Blesser suggests that 21st century broadcasters can create whole new experiences if they will open their minds, and ears, to creating ‘sonic spaces’ on radio.
I think it’s a marvelous idea.
Art
|
bblesser
Guest
| Joined: | |
| Location: | |
| Posts: | |
| Status: |
Offline
|
|
Posted: Sat Oct 27th, 2007 08:15 pm |
|
Hi Art,
I was delighted to find your posting about my article on soundscapes. Actually, the concept is much broader, arising the notion of aural architecture. All sounds and all listeners must exist in a space. We experience that space as being as important as the sound sources. Background activities, which generate or change sound, gives the space its personality. A soundscape is composed of sound sources (like people) and the environment's acoustics (such as your office). A announcer speaking close to the microphone in an acoustically dead studio is nothing more than a "floating" voice
Anyone interested in soundscapes and aural architecture can get more information about the subject at http://www.SpacesSpeak.com
At this site, one can find sample chapters from the book, Spaces Speak, Are You Listening? Experiencing Aural Architecture, as well as articles, review, discussions, links, podcasts, and other potentially useful information.
Regards,
Barry Blesser
|
artmorris
Administrator
|
Posted: Mon Oct 29th, 2007 03:43 pm |
|
Barry!
I'm thrilled that you discovered our little slice of the world here, and especially gratified by your kind comments.
I thought your perspective was brilliant. Even in some studio recordings, you can hear the 'landscape'. Example: one of my favorite records of the pop/rock era is Leslie Gore's "Maybe I Know". It's a lower 40-rated song from 1964 or 65, produced by Quincy Jones. If you listen to the song with headphones, you can actually hear the size of the room. I don't know if it was pre-tracked, but it sure sounds like a live performance in the studio, expect for Leslie's over-dubbed harmonies. But, I always liked the sound of the song, and your 'aural landscape' comment really crystalized it for me.
As I think I mentioned above, about 20-years ago, a small market operator here in Missouri, Jerrell Shepherd, took the glass out of his on-air studios. He wanted the listener to hear the sound of real, working radio station when the mic was open. Of course, that went against everything most of us had been taught. But, I understand what he was thinking. Whenever you listened to those stations, you could hear all the activity nearby.
I notice that same feeling when I listen to a live broadcast. For instance, Sean Hannity's recent live remotes from amusement parks. It doesn't have to be in stereo to get the sense and feel of a live event. The natural sounds transport me to the event. It's just so very "human".
I know your thoughts go far deeper than what we do on radio, but it certainly is something we need to think about. Radio is going through a re-invention right now, and the creative and innovative use of sound spaces would be an excellent adjunct to the discussion.
In radio, SOUND is what we are. We should know how to use it.
Thanks, Art
Last edited on Mon Oct 29th, 2007 03:50 pm by artmorris
|
Current time is 07:58 am | |
|
|
|
|
