This project explores production techniques to manipulate the spatial perspective of instruments in recorded music. The researcher produced two experimental reggae tracks that shift instrument perspectives according to song structure. A survey was conducted to evaluate listener responses to the "shifted mixes" compared to "static mixes." Feedback was analyzed to determine if acoustic choreography techniques are relevant to the music industry and how the project could be improved. The results provide insight into innovative mixing approaches for acoustic recordings.

1. Israël RINALDO
[SAE Institute/Qantm - 235 Normanby Road, South Melbourne. VIC 3205]
CREATIVE PROJECT 2

2. 1
CREATIVE
PROJECT 2
Spacialisation
Creation of a Reggae E.P using
different production techniques to
manipulate the listener’s spatial
perspective as directed by the song
structure
RINALDO Israel – 111513
SAE Melbourne BAP260.2 – Report
Submitted in partial fulfilment of the
Bachelor Of Audio Production
Word Count Exc. Quoted Material : 3952
Unit Coordinator – Tony Dupe
Course Code : BAP 260
Date : 21/04/2015

3. 2
Acknowledgements
I would like to thank the following people for their contribution, support and assistance in the
completion of this study without them i would not have been able to complete this creative project.
Dirk Terrill – Audio Department Co-Ordinator/SAE Byron Bay.
For the initial idea and references that helped me to undertake this project
Jan Muths – Lecturer/SAE Byron Bay.
For the knowledge he gaves me during my study at Byron Bay, and the motivation to continue
with sound engineering.
Tony Dupe – Tutor/SAE Byron
For his guidance, support and feedback on this project and research. The equipment he lent me for
this project and for the correction of this report.
Rinaldo Isaac, Anatole Gaspard – Musicians/France
Cory Jackson, Julian Goyma – Musician/Australia
For their performance as musician on theses recordings.
Cordoval Claudine, Rinaldo Raphaelle, Rinaldo Roland
For their support and encouragement moral and financial during all my life and particularly for
my projects as sound engineer and producer.
Fernandos Cervntes – Sound Enginner Engineer
For his feedback and help through this project
God
For his blessing and faith he gave me everyday in my life, and without this I would never achieve
anything.
Key Terminology
Environment: location of the recorded elements (eg: hall, small room, outside,…)
Perspective: location of an element in a sound recording (far, close, wide,…)
Reverberation: result of the reflection of a sound in a acoustic environment.
Delay: repetition of a sound, also called echo.
DAW : Digital Audio Workstation
Automation : way of recording change in a parameter over time (volume, balance, position of an
instrument in the image field)
Diaphragm : piece of a microphone also called transducer, it’s the part which convert acoustical energy to
electrical energy.

4. 3
Abstract
As demonstrated by the producers and sound engineers Paul Draper, Stephen Emmerson, Kevin
Bazzana, Leopold Stokowski, Herbert van Karajan and Georg Solti, Lee Scratch Perry and King Tubby, the
evolution of recording technology has given the producer, sound engineer and musicians more tools to
shape the music. Recording became an artform separate from performance as Glen Gould claimed in
1960. (Bazzana, 1997). The tools available currently allow us to manipulate and shape the sound to
create a new interpretation of the music that has never been heard before. The recording of acoustic
music usually tends to be as transparent and realistic as possible, and as producer and sound engineer
the y aim is to represent a realistic interpretation of the music. The project we are going to present is an
exploration and experimentation of various music production techniques in order to create a new
impression of the music. Our goal is not to be realistic but rather create an interpretation where recorded
instruments move into different perspectives.
We will create two experimental reggae tracks that will have a perspective shift according to the
song’s structure. In this report we will present the production techniques used and our workflow in
order to achieves theses records. We analysed the result of this project with a survey and feedback from
a group a listener. And we figured out that the production techniques used for this project have some
potential but doesn’t suit every kind of music. As Glen Gould said, the music recording serve some music
better than other. This project provide a new approach to producer in order to innovate and create
original acoustic recording.

5. 4
Table of Contents
Acknowledgements...................................................................................................................................................................................2
Abstract...........................................................................................................................................................................................................3
Key Terminology........................................................................................................................................................................................2
I. Introduction ........................................................................................................................................................................................5
II. Literrature Review...........................................................................................................................................................................5
III. Objectives.........................................................................................................................................................................................6
a) Primary .............................................................................................................................................................................................6
b) Secondary.........................................................................................................................................................................................6
IV. Research Methodology ..............................................................................................................................................................7
a) Project Scope & Limitation......................................................................................................................................................7
b) Evalutation Strategy ...................................................................................................................................................................7
V. Production............................................................................................................................................................................................8
c) Pre-Production..............................................................................................................................................................................8
d) Recording.........................................................................................................................................................................................9
e) Mixing .............................................................................................................................................................................................10
VI. Results And Analysis................................................................................................................................................................12
VII. Conclusions And Recommendations................................................................................................................................15
VIII. References .............................................................................................................................. Erreur ! Signet non défini.
IX. Appendices...................................................................................................................................................................................16

6. 5
I. Introduction
Recording technology aims to be as transparent as possible, and helps the sound engineer and /
producer to create a realistic re-interpretation of a music piece when they do an acoustic recording.
Microphones are placed at different spots in order to capture a clear and distinct sound of each
instrument and its acoustic environement surrounding. The balance of all microphones is adjusted by
the sound engineer during the mixing stage in other to have a good balance and relationship between
instruments. Each instrument keeps a static position as in a reality music show, they all have a
specific place in the music field. Compared to a film, music recording can seems very static. In a film
the cameraman moves around the action and takes different angles in order to emphasis some
specific actions and scenes to help the spectator to have a better understanding of the story.
In the 1960 Glenn Gould, famous pianist and composer. Also known as a spokesman for the
recording technology claimed that the recording is a distinct art separate from performing a concert.
He said that recording music would serve some types of music more than others. Some producers and
sound engineers such as Kevin Bazzana, Paul Draper, Stephen Emmerson, Lee Scratch Perry and King
Tubby used the recording technology as a tools to shape the music and create an unique re-
interpretation of it.
This project is an exploration of production techniques (especially recording and mixing
techniques) in order to create a music where the perspective of each instruments move according to
the song structure. We are aiming to create a new way of recording and mixing music to improve the
interpretation and create a new experience for the listener. We will produce two reggae songs where
the perspective and environment of some instruments will shift during the music. We will present our
researches and the process we went through in order to produce theses songs.
The report will firstly present the previous research and experimentations done during the last
century by different producers as Kevin Bazanna,Paul Draper, Prince Jammy, Lee Scratch Perry. We
will analyse the methods used in the past experimentation and secondly explain all the stages we
went through, as pre production, recording and mixing in order to achieve this projet. We will also
see the limitation and project scope for of our researches. Thirdly we will show the result of a survey
using quantitative and qualitative research to have some feedback from the listener. And the impact
of the shift of the instrument’s perspective in a recording. We will finish by a self analyseis of this
project and the possible perspective of such production techniques for a commercial release.
II. Literrature Review
In 1970, Kevin Bazzana introduced the term “Acoustic Choreography” by recording Scribin’s Fifth
Sonata using various pairs of microphones arranged in different locations in the performer hall. Some
microphones close to the strings of the piano, some about five feets away from the piano, and two far
away pointed away to capture the reverberation of the hall. Entitled ‘Acoustic Choreography” Kevin
Bazzana treated microphone as a film director would treats the camera. He wanted to record this way
then in the mixing stage shift between different perspectives in order to create a new interpretation
of the music. (Keilor, 2007).
Late 60’s, Jamaican producer as Lee Scratch Perry, Prince Jammy and King Tubby used recording
technology as a way to create new art. They used artificial reverberation and echo to give a new
dimension to a piece of music. They created what is called a “version” and “dub”, which is an extended
version of an original song, where the producer or sound engineer used the recorded tape, remove
the vocal and put a large amount of effect as reverberation and echo. They recorded the dub or
version as an instrumental track and change the arrangement of the track by taking out some
instruments and putting sometime only drum and bass played alone. In Jamaica's party (also called
sound system), the deejay started to play the original music with vocals and then the dub version
(instrumental version), the deejay and selector would then sing on the instrumental version, this is
where “toasting” come from. Hip Hop and Rap have been mostly influenced by deejay and selector

7. 6
from Jamaica who started toasting on a instrumental version (Veal, 2007). You can listen to the album
‘Black Sounds Of Freedom’ of Black Uhuru and its dub version mixed by Prince Jammy called ‘Uhuru
in Dub’ with Sly And Robbie'. Sample 1 is the original tune ‘Eden Out Deh’ and sample 2 is the dub
version created by Prince Jammy called ‘Eden Dub’ . You can find a lot of well known songs remixed
as dub by a lot of artists, producers and sound engineers such as Scientist, Lee Scratch Perry, Burning
Spears,…
On the other side of the world other musicians used the technology as an instrument to make the
music experience evolve. Classical musicians like Leopold Stokowski, Herbert van Karajan and Georg
Solti used recording technology to manipulate ambiance and with the producer John Culshaw to
create ambiance that was not possible to create in a real environment. Stephen Emmerson and Paul
Draper also recorded a classical solo piano repertoire from 1908-1909: Berg's Sonata Op. 1,
Schoenberg's 3 Piano Pieces Op. 11, and Bartok's 14 Bagatelles Op. 6 and tried to create a new
interpretation of theses piece of music, by changing the perspective of the piano. This project is called
Music, Recording and the Art of Interpretation which has been published in the “Journal on the Art of
Recording Production” in 2010 “. The project is based on the premise that a recording is not 'music'
itself, rather, is a virtual artefact through which an interpretation can be manipulated and enhanced
through deliberate interference in the recording process. (Paul Draper, 2011). They recorded a piano
with different perspectives and manipulated them in order to enhance the listener experience.
“In contrast to the usual practice where recordings maintain a single piano sound and perspective,
the project explores the ways in which the interpretation of such challenging music can be further
communicated through manipulation of these various perspectives. For example, spatial metaphors
of closeness/intimacy and distance are already embedded in much of this music and so, rather than
merely imposing distracting effects on the music, the researchers contend that the essential meaning
of such music may be enhanced through this process. Already this project has proved to be a highly
stimulating collaboration between different artists with respective expertise in Classical music
performance and contemporary sound production. Music, Recording, and the Art of Interpretation.”
(Paul Draper and Emmerson Stephen 2009). You can listen to the samples of the Three Piano
Pieces Opus 11 composed by Arnold Schoenberg (sample 3). And you can also compare it to the
experimentations of Paul Draper and Stephen Emmerson with the same piece of music (sample 4).
You can hear alot of changes in terms of ambiance compared to the one in the sample 3.
III. Objectives
The primary objectives of this project are to focus on the research of appropriate methods to
record an acoustic choreography with different instruments in reggae music. The pre-production will
be the more important process in terms of research of methodology.
Following are the primary objectives.
a) Primary
⁃ Create two reggae songs.
⁃ Research the approach and technique used by Paul Draper and Stephen Emerson to create an acoustic
choreography.
⁃ Apply this approach and technique to the recording of other instruments in reggae music
The secondary objectives will be the following
b) Secondary
⁃ Determine the limitations of the Acoustic Choreography in terms of equipment needed.
⁃ Determine the degree of shift in environment permissible before the listener becomes distracted.
⁃ Take feedback from the listener with a survey to compare”Acoustic Choreography” to a “Static Mix”.
⁃ Analyse the results to determine the benefits of Acoustic Choreography.

8. 7
IV. Research Methodology
a) Project Scope & Limitation
The focus of this project deals with “Acoustic Choreography” as applied to reggae music. This style of
music is usually played by a full band including (drum, bass, percussion, guitar rhythmic, guitar lead,
horn section, and vocalist). To record a full reggae band in live using Acoustic Choreography would
require a huge amount of microphones. For the experiments of Paul Draper and Stephen Emmerson they
recorded a solo piano with eight microphones (four pair of microphones), including a close pair of
Neumann's above the strings to a Mid-Side1 pair of microphones ten meters away. They recorded the
piano with four perspectives that they manipulated and shifted at the mixing stage. With the amount of
microphones and live rooms that was available to me I was not able to record a full eight piece band in
live with the Acoustic Choreography approach. So I decided to record each instrument separately and
spend time on the recording techniques that will be the best suitable for this project. Paul Draper and
Stephen Emmerson recorded the following pieces : Alban Berg’s ‘Sonata Op.1’, Arnold Schoenberg’s 3
‘Piano Pieces Op.11’, and Béla Bartók’s ‘Bagatelles Op.6’ composed in 1908, which are solo piano.
Obviously in the case of the recording of a solo instrument, there is no relation between many
instruments. When there are many instruments like for a reggae band, the relation and perspective
between each instruments would have to be manipulated precisely, because every manipulation on one
instrument will affect the relation with the other instruments in term of perspective and tonal balance
(tone of the overall piece of music). For example if I have a very loud drums in my music all the other
instruments which are as loud as the drums will seem to be distant in the mix. So the more instruments
there are the more complex the shift of perspective becomes. And all these s shifts should not distract
from the real intention and message that the composer wants to translate to the listener.
b) Evalutation Strategy
To evaluate the success of this project we will submit an online survey through internet. We will use
this survey to find the answers to the following questions :
⁃ Is Acoustic Choreography as applied to reggae relevant to the music industry ?
⁃ Which aspects of the shifted mix improve the interpretation of the music ?
⁃ Which aspects of the shifted mix do not improve the interpretation of the music ?
⁃ How the overall project could be improved ?
We used quantitative and qualitative research in order to analyse s the value and success of our
experimentation. There will be two samples of each song, the first one with a "static mix" and another
with the "shifted mix". We will split the results into two different groups, the first one as audio
professionals/student listener and the second group as non professional in audio industry.
As part of the survey I submitted this explanation online:
This creative project is an exploration of music production techniques. We’ve produced two reggae
tracks that we mixed differently by manipulating the environment (perspective) of each instruments
according to the structure of the song. The goal of this survey is to analyse the response of a listener to
this experimental mix. There are some audio samples to listen through the soundcloud player on the left
side of the box. Thanks for your participation.
1 The Mid-Side is a recording technique which use two microphones coincident. This technique is very famous because it
allows us to manipulate the width of the stereo spread after the recording

9. 8
1 Are you professional or student in Audio/Music ?
- Yes
- No
2 Do you practice any hobby or activities related to music ?
- Yes
- No
3 Are you familiar with reggae music ?
- No, I don’t know what is reggae music
- Yes, but I listen to it occasionally
- Yes, I listen to reggae often
The following question will be ask for each song
4 Which on of the following samples did you preferred ? Explain your choice with 2 sentences
maximum
- Samples 1
- Samples 2
- I didn’t hear any difference
5 Which instrument do you think didn’t suit the goal of the project or make your listening
unpleasant ? Explain your choice briefly with 2 sentence maximum
- Drum
- Bass
- Guitar
- All instruments were alright
6 If an album you want to buy cost 13$ but and you can have a alternative mix of this album for an
additional 7$. Would you pay theses additional fees for an alternative mix ?
- Yes
- No
V. Production
This part will explain all the different stages of the production in recording and mixing. We will detail
all the tools and process used in order to achieve this project.
c) Pre-Production
The pre-production process include the composition of two reggae reggae songs that will be suitable
for an “Acoustic Choregraphy”. I produced three demo s reggae tracks including : drum, bass, piano,
organ directly through my computer and DAW (Magix Samplitude/Sequioa). Once the demo was finished,
I had to find studio musicians to record (drummer, bassist, percussionist, vocalist), in Melbourne. So I
looked in my circle to find affordable studio musicians to record. After three weeks of research, I found a
drummer, a guitarist and a vocalist in Melbourne, For the bassist my brother who lives in France could
recorded the bass overseas and send to me the audio files. Unfortunately I could not find any good
percussionist to record for this project. I've prepared three demos in order to have option in the case of
the vocalist didn't like some of the instrumental s tracks.

10. 9
d) Recording
This is an explanation including detail and schema of the recording process.
 Drum Recording
Drums are usually recorded along with bass, since it is much better to have a drummer and
bassist playing together in term of feeling and groove drum and bass being the foundation of
reggae music. But I could not find a bassist to play along with the drummer so I recorded the
drummer alone. I’ve tried the four following techniques as overhead for drum recording: XY2,
ABiv3 (with cardiod capsule4), Glyn Johns5 technique (famous sound engineer, who recorded
John Bonham drum sound on Zeppelin records), mono (techniques using a single microphone
to record the whole drumkit). The first issue was with the Glyn Jones technique which is not
commonly use in reggae and gave an unbalanced drum balance with too much emphasis on the
ride cymbal. So I avoided the Glyn Jones miking technique for the drums. Using a single
microphone to record all the drums was also not worth it because I can shift the stereo
recording of the drum to a mono recording by just panning both microphones in a XY
technique to the center of the stereo field. This is possible due to the high mono-compatibility
of the XY technique. With t the microphones available I was finally able to record only two
different perspectives of the drums so i decided to use an XY and AB overhead for the drum. I
also added two different room s microphones, the first one in the same room around four feet
from the drum and another one in another open room seven foots feet away from the drum kit.
You can see the drum miking technique I used illustrated in figure 1 and listen to sample 5 and
6 to hear the difference between a drums recorded with a XY and AB techniques. You can also
find detail about all the microphones techniques used in the "Recording Engineer Handbook'.
(Owinski, 2014)
Figure 1: Overhead Miking Technique on drum
2 Recording techniques using two coincident microphones angles at 90°
3 Pair of microphone space
4 Refered as sensitivity pattern of the microphone
5 Microphone techniques invented by the sound engineer Glyn Jones, which used a pari of microphone as overhead. One place
in the front of the drum and the second one placed near to the ride cymbal

11. 10
 Bass & Guitar Recording
For the bass recording I sent to my brother the audio files of the song in waveform audio
file format (wav e) through the online service Wetransfer. He recorded the bass through his
interface and send me back a bass audio track that I just had to add into my DAW. I thought
about re-amping the bass track through a real amplifier but I didn't find any bass amplifiers
that I could borrow or rent for an affordable price. So I used a virtual amplifier simulator.
The guitar has been recorded in the same way in France with a musician friend. After I
received the audio files for the guitar I used a technique called re-amping to pass the guitar
through a real guitar tube amplifier. I re-amped the guitar using a tube amplifier and three
different microphones around the amplifier: one ribbon microphone Royer 121 on the front of
the speaker, one Sennheiser md421 on the back of the amplifier and as room microphone a
tube microphone five foots away from the speaker. You can see an illustration of the
microphone placement on the figure 2 below. The first microphone on the front gave me a
brighter and closer sound which was more defined. The microphone on the back gave me a
darker sound ideal to create a nice background guitar and the room microphone gave me all
the ambiance I needed for the rhythmic guitar. You can see an illustration of the guitar
recording on the figure 2 below. You can also listen to the different microphones used to re-
amp the guitar on the samples 7, 8 and 9.
 Key Recording (Piano, Organ)
I recorded the piano through a virtual piano ‘Native Instrument Kontakt Player‘ because I
didn’t have access to a real piano or an electric organ for this project and I planned to used
different reverberations in order to shift the piano and organ perspectives
 Vocal Recording and Melodica
For the vocal recording i didn't want to have too many different vocal tones so I used a
single microphone, the Neumann TLM 103 and planned to used automated reverberation and
delay to shift the perspective of the vocal. For the melodica recording unfortunately I had only
a single audio track that I recorded fours months ago, and I couldn’t find another melodica to
borrow in order to re-record it with different perspectives.
e) Mixing
In order to compare a static mix to a shifted mix I had to produce two mixes of each song (static mix
and shifted mix) to be able to compare each mix properly. The static mix used only a single perspective
per instrument so no automation was really needed. For the shift mix I used all the perspectives that I
Figure 2: Guitar Re-amping miking technique
Guitar
Amplifier
Microphone 1
Front
Royer 121
Microphone Back
Sennheiser
MD421
Microphone
Room
Rode Classic 2

12. 11
had recorded previously with the different microphones. I ended up after the recording with alot of
audio takes, it was a difficult to sort everything out and find which perspective would suit the best each
part. I will explain in this report all about the mixing stage, process and manipulation I used to do the
shifted mix.
 Drum
The most difficult part of the job was to use automations to shift the overhead of the drum
from an AB to an XY without creating phase issues6 and abnormal level change. To avoid and
minimize theses issues I decide to do the shift gradually during the transition from the verse to
the chorus. I started to create automation lines on both overheads and the room microphones.
I tried to find a good balance on the two drums sounds in terms of tonal balance, dynamics and
width. I used the XY microphones plus the room microphone at seven foot away for the chorus
of the song and the AB microphone along with the close room microphone for the verse.
Further along in the mix process I put different reverberations for the two drum sounds. For
the chorus I used a hall reverberation and for the verse a room reverberation. You can see on
the figure 3 below the automation lines of the “XY’ and “AB”microphones turn up and down
according to the song structure. You can also listen to the sample 10 which the transition from
the AB to the XY microphones plus additional reverberation.
Figure 3: Drum volume automation lines
 Bass
With the bass audio files I received from my brother I applied a virtual bass amplifier
simulator that I activated only on the verse of the song. The amplifier simulation added a bit of
distortion and emulates the sound of a bass amplifier and speaker. You can see below on figure
3 the automations created on the bass to bypass the amplifier simulator. On the sample 11 you
can hear the dry bass and on the sample 12 you can here the bass with the amp simulator
Figure 4: Bass amplifier simulator automation
 Keys
For the piano mixing I used the same reverberation as the drums (hall and room
reverberation according to the song structure) and I added a plate reverberation for some
parts in order to give an extra tone on to the piano. The organ is very discreet and mainly
rhythmic so I didn’t move it much from its original perspective.
6 phenomene of frequency cancellation due to the phase relationship between two different audio signals

13. 12
 Rhythm Guitar
For each song I did different automations between all microphones. I usually put a rommy
room sound on the chorus to make the guitar match the drum sound. For the verse I used only
the front microphone and put a delay on some parts. You can see below on the figure 5 the
automation lines for the Rhythm Guitar
Figure 5: Rhythm Guitar automation lines
 Guitar Mute
For the mute guitar I used panning automation to create a left-right movement for the
verse to create a dynamic in the guitar riff. I alternated between a dark tone from the
microphone at the back of the speaker that I panned on to the left side and a clear tone from
the microphone at the front of the speaker that I panned to the right side. The mute guitar
plays a kind of riff that I accentuated by creating these s two distinct tones from the same
guitar panned left and right. For the chorus I kept the guitar static. You can see the automation
line of the guitar mute on the figure 6 below. U You can also listen to sample 13 which is the
mix of the guitar mute.
Figure 6: Guitar pluck pan and mute automation
 Vocal and Melodica
For the lead instrument (melodica) and vocal I didn’t use multiple microphones because I
wanted to keep the same tone for these s instruments and just change their perspectives with
reverberation and delay. For the vocal I used two distinct reverberations: medium and large
size rooms and I did automation on the chorus and on some words according to the structure
of the song. You can listen to sample 14, 15 and 16 to hear the different vocals that I ended up
with at the end of the mix
VI. Results And Analysis
After recording and mixing I had two mixes (static and shifted mix) of the two songs. You can listen
to the four following tracks on the CD include with the report:
- Eclipse Riddim (Static Mix)
- Eclipse Riddim (Shifted Mix)
- Light In My Life (Static Mix)
- Light In My Life (Shifted Mix)
Before the submission of the song for the survey, I normalised all the songs to the same level in order

14. 13
to have accurate feedback from the listener. Twenty one persons completed the survey and I split the
results into two distinct groups, the first one as audio professional/student and the second group as non-
professional in audio. The survey is available in the following web address : http://www.israel-
rinaldo.com/#!survey/c1dzj. I sorted out the results of the survey and create a chart, which display the
choice of non audio prefesionnal according to the shift and static mix on the figure 7
Figure 7: Result of the survey for Non-Audio Profesionnal
We can see that more than half of the listener (fifty-five percents of the listener) preferred the shifted
mix. Some listener claimed that the shifted mix was more rhythmic and they appreciated instruments
much better but the rest did not really know why they preferred the shifted mix. Only ten percents
preferred the static mix and the rest (thirty-five percents) didn’t hear any difference. The second chart in
the figure 8 display the choice of audio professional with a shift and static mix.
Figure 8: Result of the survey for Audio Profesionnal
From the audio professional we have almost sixty percents of the listener who preferred the shifted
mix. The most common feedback was that the shift mix was wider and sound fuller due to the automation
and movement. Only around fourteen percents of the listener didn’t hear any difference and the rest
(twenty-seven percents) preferred the static mix claimed that the static mix sounded cleaner. The next
chart display in the figure 9 shows the overall result of the survey.

15. 14
Figure 9: Overall Result of the Survey
For the overall result of the survey we clearly see that the listener preferred the shifted mix (fifty
seven percents). If we count only the person who hear a difference between each mix we have a seventy-
five percents of the listener who preferred the shift mix against twenty-five percents for the static mix,
which is a real success for this project. A relevant amount (twenty-three percents) of listener still did not
hear a difference between each mix probably due to not enough shift of perspective or a bad listening
environment. But no listener claimed that the perspective shift was disturbing, This lead us to think that
the perspective shift was maybe not enough strong for the listener, and for the next experimentation we
could use a larger amount of perspective shift. In the next chart display on the figure 10 we will see the
percentage of customer that would be agree to buy an alternative mix for a additional fee.
Figure 10: Customer agree to pay an extra fee for an alternative mix of an album.
We see that the respons of the customer is very mitigate, this could result because the amount of shift
was not enough strong in the sifted mix to make a big difference between each mix, only half of the
listener would be agree to pay an additional fees for a alternative mix of an album. The Acoustic
Choregraphy should maybe not be use as alternative mix but as first mix for a song, because the listener
don’t want to pay additional fees to hear the same song with another mix.

16. 15
VII. Conclusions And Recommendations
For the listener the shift of perspective create a more dynamic music and help to appreciate each
instrument better without distracting the listener. In term of production of such mix for an entire album
the need in term of equipments, and workload are much bigger compare to a static mix. The amount of
microphones, preamplifier, converter and workload is multiply by almost three or four. In the case of a
band recording with more than four or five musicians the perspective and relation between instruments
have to be manipulated with pre-caution because there are already existing relationships between
different instruments in a group, so when we start to move one instrument the others need to move as
well which implies a lot of process and a huge amoung of manipulation. The involvement of many
instruments makes the mixing more complex. The issues was that almost twenty-four percents of the
listeners didn’t hear any difference between each mix which mean that the shift of perspective was
maybe too subtle. Our limitation in term of equipment and the fact that I was afraid to lose the real
feeling of the music by over-shifted the perspective and distract the listener make the Acoustic
Choregrapgy un-perseptible for some listener. A stronger shift of perspective may have improve the
listening experience.
For a further realization on a commercial release the Acoustic Choregaphy recorded with a live band
playing require a huge amount of recording equipment and live room. It would be hardly affordable to
realize a full album as an acoustic choreography. I think this kind of production would suit better as a
limited edition of an album or single track to create something different and attractif for the customer
but its hardly realizable for a lot of album which would requierement a huge amount of work knowing
that only fifthy-two percents of the listener would be agree to pay an extra fee to have the alternative
shifted mix. After analyses of the result of the survey, I can conclude that the Acoustic Choregraphy apply
to reggae was mostly a success, most of the listener preferred the shifted mix.

17. 16
VIII. Bibliography
Bazzana, K. (1997). Glenn Gould. Oxford: Clarendon Press.
Dramer, P. (2006). This is your brain on music. New York, N.Y: Dutton.
Owinski, B. (2014). The recording engineer's handbook. Boston, Mass: Cengage Learning PTR.
Paul Draper, S. E. (2011, April 20). Remixing Modernism: Re-Imagining The Music Of Berg, Schoenberg And
Bartók In Our Time. Récupéré sur arpjournal.com: http://arpjournal.com/remixing-modernism-
re-imagining-the-music-of-berg-schoenberg-and-bartok-in-our-time/
Veal, M. E. (2007). Dub. Middletown, Conn: Wesleyan University Press.
Keilor, John. (2007). An appreciation of Glenn Gould the studio engineer. Sound and Vision, 11 October
2007. (available at http://www.cbc.ca/arts/music/gouldstudio.html)
IX. Appendices
The complete practical project and audio files are available on the CD labelled ‘Creative Project 2 Israel
RINALDO BAP260’. Please follow the instruction in the ‘Read Me’ file.