TRIMESTER 1 2017 MUSI361

Unit Coordinator

Dr Donna Hewitt
Student

Evan Carydakis
220085294

Assignment 1: Critical listening and analysis exercises

Contents
Analysis 1: Echo, Delay and Reverberation...........................................................................................................3

Define echo, delay and reverberation..................................................................................................................3

Echo.....................................................................................................................................................................3

Delay...............................................................................................................................................................3

Reverberation..................................................................................................................................................3

Compare and contrast the application of echo, delay and reverb in the two tracks you have selected...........3

What is the impact of these effects on the listener's reception and engagement with the musical material?..4

Does the use of echo, delay and reverb influence or reflect broader genre/stylistic conventions?.................4

What is the impact of these effects on the listener's reception and engagement with the musical material?..5

Does the use of echo, delay and reverb influence or reflect broader genre/stylistic conventions?.................5

Analysis 2: Dynamic Range.....................................................................................................................................6

Define dynamic range..........................................................................................................................................6

Dynamic Range...............................................................................................................................................6

Compare and contrast the dynamic range of each track..................................................................................6

Is the application of compression audible/obvious in either tracks' mix? If so how?.....................................7

What is the impact of the dynamic range on the listener's reception and engagement with the musical
material?..........................................................................................................................................................7

Does the dynamic range and application of compression reflect broader genre/stylistic conventions?.........8

Analysis 3: Mix Analysis........................................................................................................................................9

Instructions: Listen to Bjrk's song Black Lake (2015). Address the following questions:................................9

What is the structure of the song and how does that map to its instrumentation?..........................................9

How is the song mixed in terms of the relative volume levels of instruments, and their panning
position/location within the stereo field?......................................................................................................10

What processing or effects can you discern in the mix and what is the impact of their application on the
musical material?...........................................................................................................................................10

Processing and effects:..................................................................................................................................10

Impact:...........................................................................................................................................................10

Are there any elements of the mix you would change/adjust? Why/why not?.............................................11

References..............................................................................................................................................................12
Analysis 1: Echo, Delay and Reverberation

Define echo, delay and reverberation.

Hosken (2010) defines echo, reverb, and delay as time-based effects that involve combining the
original audio signal with delayed and modified copies of itself. 1

Echo
In audio signal processing and acoustics, echo is a reflection of sound that arrives at the listener with a
delay after the direct sound. The delay is proportional to the distance of the reflecting surface from the
source and the listener.2

Delay
Hosken (2010) defines delay as involving storing the audio in a digital delay line for some amount of
time and then playing back the stored audio combined with the undelayed signal. The delayed signal
will naturally be behind the original.3

Reverberation
Hosken (2010) believes reverb can be thought of as many delays added together. Some of them
bounce directly back to you, and some of the bounced signal eventually gets back to you. What you
get back, then, are the early echoes followed by an increasingly dense and complicated series of other
echoes that decrease in volume over time. 4

Compare and contrast the application of echo, delay and reverb in the two tracks you have
selected.

Taylor Swift Style

With regards to Style by Taylor Swift I can identify the following effects being used:
Overall: Reverb on the overall stereo mix
Echo/Chorus is also used on the main vocal and overall.
Auto Tune is applied to the backing vocals.
Intro: Reverb on strings, claps, snare, the snare has also pre-delay
Verse: Reverb and delay on the main vocals in the verse. The delay is synchronized to a
quarter note on the vocals at the end of every bar.

1 Hosken, Dan, Introduction to Music Technology, edited by Dan Hosken, Taylor and Francis, 2010. pp. 103.
2 Wikipedia 2017, Echo, retrieved 25 April 2017,< https://en.wikipedia.org/wiki/Echo>
3 Hosken, Dan, Introduction to Music Technology, edited by Dan Hosken, Taylor and Francis, 2010. pp. 103.
4 Hosken, Dan, Introduction to Music Technology, edited by Dan Hosken, Taylor and Francis, 2010. pp. 105.
 Pre Chorus: This is a lot drier than verse with no delay and less reverb on the vocals than used in
the verse.
Chorus: Vocals have a doubling effect produced by a short delay. Reverb is also added.

What is the impact of these effects on the listener's reception and engagement with the
musical material?
The chorus and the use of reverb and delay create an atmospheric quality that helps to frame the story
of the lyrics. That is the tempting encounters between a boy with "that James Dean daydream look"
and a girl with "red lip classic thing.5 This type of production would therefore assist the listener to
connect and therefore engage with the music material.

On the flip side the production of the main vocals takes away some of its personality and tone,
especially when compared to her earlier releases in the country genre. Swift has always relied on her
unique vocal tonality to stand out; however her voice is produced in a homogenously pop fashion
almost to the point of unrecognition.6 In this sense, the listener may not instantly identify or connect
with the artist, as opposed to the music material.

Does the use of echo, delay and reverb influence or reflect broader genre/stylistic
conventions?
Although Swift was previously seen as a country-pop artist, this song and album have moved her into
mainstream pop.7 1989 and therefore Style are not so much a Taylor Swift album, but more so a radio-
ready electro-pop album that happens to feature Taylor Swift. 8

Taylor Swifts producer Max Martin has created a template for this sound, which combines ABBAs
pop chords and textures, Denniz PoPs song structure and dynamics, eighties arena rocks big
choruses, and early-nineties American R. & B. grooves. 9

Additional to that Martin has written more than 50 top ten hits worldwide, including sales of over 135
million singles.10 Therefore the production style, including the use of echo, reverb and delay would

5 Baker, J. (2014, Nov 04). Taylor swift matures in her songwriting with "1989''. University Wire
6 Sinneberg, J. (2014, Oct 29). Critical voices: Taylor swift, 1989. University Wire.
7 Sutherland, Mark. "It never goes out of style: inside 1989's slowburning UK success: Virgin/EMI boss Cockle hails million-selling swift as 'cultural
phenomenon'." Music Week, 15 Feb. 2016, p. 3. Expanded Academic ASAP.

8 Sinneberg, J. (2014, Oct 29). Critical voices: Taylor swift, 1989. University Wire.
9 Seabrook, J 2015, Blank Space: What Kind of Genius Is Max Martin? The New Yorker,
retrieved 30 April 2017, <http://www.newyorker.com/culture/cultural-comment/blank-space-what-kind-of-genius-is-max-martin>

10 Klein, D 2014, Taylor Swifts Secret Music Man: Max Martin, Elusive Hitmaker, The Daily Beast, retrieved 29 April 2017
<http://www.thedailybeast.com/articles/2014/10/16/taylor-swift-s-secret-music-man-max-martin-elusive-hitmaker.html>
reflect both Martins and the broader stylistic conventions of popular music as opposed to influencing
them.
Bob Marley - Is this Love
With regards to Is this Love by Bob Marley I can identify the following effects being used:
Overall: An old plate reverb is used for all reverb effects. There are two distinct
reverbs. One is warmer and used for the vocals, and there is a brighter reverb
used by enlarge for the instruments
Reverb with a short delay with a single repeat is used on the keyboards
A warmer plate delay is used on the vocals
Reverb is used on the guitar
Percussion uses reverb
Backup vocals uses reverb

What is the impact of these effects on the listener's reception and engagement with the
musical material?
Engineer Phil Browns sonic aim with reggae music in general, and for Bob Marley specifically was
to capture the atmosphere, energy and vibe of the track, and focus much less on the technology. 11 I
believe this is evident in his simple use of time based effects in this particular track, which serve to
both highlight and transport the listener into the dynamic interplay between the verbal and non-verbal,
modes of communication.12

This approach by engineer Phil Brown is confirmed by producer Chris Blackwell who states that the
Bob Marley albums could have been produced very schmaltzy by smoothing them out, but that's not
what it was about. He goes on to lament modern productions techniques such as producer Max
Martins approach with Taylor Swift, stating that a lot of the records nowadays are very smooth by
comparison.13

Does the use of echo, delay and reverb influence or reflect broader genre/stylistic
conventions?
The use of plate reverb does reflect both his earlier releases and the stylistic conventions for Jamaican
music at the time. For example on other earlier albums they did not use a lot of effects. It was down to

11 Buskin, R 2006, CLASSIC TRACKS: Bob Marley & The Wailers: 'I Shot The Sheriff', Sound on Sound, retrieved 30 April 2017<
http://www.soundonsound.com/people/classic-tracks-bob-marley-wailers-i-shot-sheriff>

12 King, S., & Jensen, R. J. (1995). Bob marley's "redemption song": The rhetoric of reggae and rastafari. Journal of Popular Culture, 29(3), 17.
Musical Dimensions

13 King, S., & Jensen, R. J. (1995). Bob marley's "redemption song": The rhetoric of reggae and rastafari. Journal of Popular Culture, 29(3), 17.
Musical Dimensions
two echo sends, EMT echo plates, and Eventide digital delays, as engineer Phil Brown confirms;
That was pretty much our classic setup during that era. 14

However when talking about current stylistic conventions Jamaican music has changed. It has moved
from reggae in the seventies to dance hall, and then dubstep which has some Jamaican elements to it.
Artists such as Chronixx, No-Maddz, Raging Fyah and Shaggy have the essence of classic reggae, but
they dont sound like the music from the era of Is this love. 15

Analysis 2: Dynamic Range

Define dynamic range.

Dynamic Range
Hosken (2010) defines dynamic range as the difference in loudness between the quietest part of the
audio and the loudest part. This can vary quite a bit depending on the type of music. 16

Compare and contrast the dynamic range of each track.

Wish You Were Here Pink Floyd

Intro
-54db
Song Proper (When Guitar Starts)
-15.11 db to -0.31 db
Additionally there were 3 Signal Clip events at 0.00 Db

14 Buskin, R 2006, CLASSIC TRACKS: Bob Marley & The Wailers: 'I Shot The Sheriff', Sound on Sound, retrieved 30 April 2017<
http://www.soundonsound.com/people/classic-tracks-bob-marley-wailers-i-shot-sheriff>

15 Clarke, J, 2013, Q&A: Chris Blackwell on Anniversary of Bob Marley 'Catch a Fire', Rolling Stone, retrieved 30 April
2017<http://www.rollingstone.com/music/news/q-a-bob-marley-producer-chris-blackwell-on-the-40th-anniversary-of-catch-a-fire-20130422>

16 Hosken, Dan, Introduction to Music Technology, edited by Dan Hosken, Taylor and Francis, 2010. pp. 100.
Bad Girls - MIA
-4.22db to -0.33 db
Additionally there were 5 Signal Clip events at 0.00 Db

Is the application of compression audible/obvious in either tracks' mix? If so how?

Wish You Were Here Pink Floyd

Although I can hear the use of compression in wish You Were Here especially in the vocals, it is not
obvious and not as obvious as the compression used in MIA.

Bad Girls MIA

Because there is less contrast between the minimum and maximum levels of the dynamic range, and
there is an increase of the output levels especially when compared to Wish You Were here over the
entire course of the song, this is a clear indication of the obvious use of compression in the mix. This
contrast of the RMS level and the peak level is known as the crest factor 17

What is the impact of the dynamic range on the listener's reception and engagement with
the musical material?

Wish You Were Here Pink Floyd

Opening at -54db, the distant chord progression from Gilmours acoustic guitar, is processed to sound
as though its coming from a car stereo. When the second guitar starts at -15.11db, the disparity
between both parts becomes evident; the second guitar is louder and blemish-free and the first a
shadow of its original recording. 18

17 Deruty, E 2011, 'Dynamic Range' & The Loudness War, Sound on Sound, retrieved 4 May 2017<http://www.soundonsound.com/sound-advice/dynamic-
range-loudness-war>
This contrast in dynamic range captures the conflict and difficulty of the recording sessions for Wish
You Were Here. The members rarely attended at the same time, and therefore things felt disconnected.
As a result, the title track became a summary of the entire recording process, and the contrast in
dynamic range helps to convey this message to the listener, therefore engaging them with the feeling
of disconnect.19

Bad Girls MIA

M.I.A is known for representing marginalized populations, and she has a track record of weaving
sharp social and political criticisms into her music. 20 In that vein Bad Girls is a political
commentary on the equal rights Arab women are currently fighting for and particularly the right to
drive.21

The use of the dynamic range can be equated to shouting or yelling this message of
empowerment at the top of ones voice. This encourages the listener to join in the chorus with the
desired effect of engaging them with the central theme of empowerment for women. 22

Although the message of Bad Girls is hardly meant to be subtle, from strictly a sonic perspective
one could argue that modern productions lack subtlety, and sacrifice quality for level. Bob Dylan, in a
2006 interview, went as far as stating that "You listen to these modern records, they're atrocious, they
have sound all over them. There's no definition of nothing, no vocal, no nothing, just like static. 23

Does the dynamic range and application of compression reflect broader genre/stylistic
conventions?

Wish You Were Here Pink Floyd

If we look at the mean dynamic range of the main body of the song without the introduction, we can
conclude that it is a reflection of the broader stylistic conventions of the time. However when we take

18 Leahey, A 2012, Behind the Song: Pink Floyds Wish You Were Here, American Songwriter, retrieved 5 May 2017
<https://americansongwriter.com/2012/08/behind-the-song-pink-floyds-wish-you-were-here/>

19 Leahey, A 2012, Behind the Song: Pink Floyds Wish You Were Here, American Songwriter, retrieved 5 May 2017
<https://americansongwriter.com/2012/08/behind-the-song-pink-floyds-wish-you-were-here/>

20 Zohdy, N 2012, What MIA's New "Bad Girls" Video Says About Arabs, MIC, retrieved 08 May 2017, <https://mic.com/articles/4080/what-mia-s-new-
bad-girls-video-says-about-arabs#.cZxBC7Jk5>

21 Khasawnih, A 2012, MIAs Bad Girls video: how empowering are stereotypes?, The Seattle Globalist, retrieved 08 May 2017,
<http://www.seattleglobalist.com/2012/02/21/mias-bad-girls-video-is-bad-news-for-arab-women/1273>

22 Zohdy, N 2012, What MIA's New "Bad Girls" Video Says About Arabs, MIC, retrieved 08 May 2017, <https://mic.com/articles/4080/what-mia-s-new-
bad-girls-video-says-about-arabs#.cZxBC7Jk5>

23 Leahey, A 2012, Behind the Song: Pink Floyds Wish You Were Here, American Songwriter, retrieved 5 May 2017
<https://americansongwriter.com/2012/08/behind-the-song-pink-floyds-wish-you-were-here/>
the introduction into account, we can consider this outside of the broader convention, but a reflection
of the bands circumstances of the time and this is reflected in the stylistic approach and use of
dynamic range. However when compared to music of the prior decade, the use of compression is
more present and this can be attributed to the improvement of studio gear in the 70s. 24

It is also a truism that the structure of older pop songs such as Wish You Were Here employ key or
chord changes to define different song sections, whereas modern pop songs such as Bad Girls rely
more on contrasts in levels to create dynamic range within their comparatively minimalist harmonic
approach.25

Bad Girls MIA

Released in 2010, towards the end of the era of the loudness war, this increase in loudness in
MIA is brought about by the greater use of compression and a reflection of the broader stylistic
conventions. In fact an analysis by Deruty (2010) confirms there has been a constant growth in
average levels since the 70s, and after the 90s a greater use of the density of high-level samples
indicating an increasing use of not only compression, but limiters, which in turn raise the overall level
of the music.26

Analysis 3: Mix Analysis

Instructions: Listen to Bjrk's song Black Lake (2015). Address the

following questions:

What is the structure of the song and how does that map to its instrumentation?
The song is structured like a personal confession where each verse is followed by a pre verse or
breakdown. The verses are an outpouring of emotion, and the pre verses or "breakdowns create
an opportunity to digest the emotional outpouring that has just preceded it.

Instrumentally the verses are supported by strings, percussion and background vocals that sustain the
outpouring of emotion captured by the vocals. The pre verse or breakdowns are supported by

24 Deruty, E 2011, 'Dynamic Range' & The Loudness War, Sound on Sound, retrieved 4 May 2017<http://www.soundonsound.com/sound-advice/dynamic-
range-loudness-war>

25 Deruty, E 2011, 'Dynamic Range' & The Loudness War, Sound on Sound, retrieved 4 May 2017<http://www.soundonsound.com/sound-advice/dynamic-
range-loudness-war>

26 Deruty, E 2011, 'Dynamic Range' & The Loudness War, Sound on Sound, retrieved 4 May 2017<http://www.soundonsound.com/sound-advice/dynamic-
range-loudness-war>
strings only, and as stated above this serves the purpose of allowing the listener to digest the
emotional outpouring contained in the verse therefore creating a stark minimalist contrast.

How is the song mixed in terms of the relative volume levels of instruments, and their
panning position/location within the stereo field?
As a general rule the vocals and strings have a similar volume level with the percussion having a
slightly lower volume level. In the stereo field I place the vocals at between - 30 and + 30 degrees, the
strings slightly wider at between -50 and + 50 degrees, with the percussion in between the two.

I think that spreading the instruments across the stereo field in this fashion has the effect of widening
the track, but I dont think any of the instruments are wide enough to create a discernible panning
effect.

Even so separation is evident as each part is defined and easily discernible, There is a good balance of
frequencies with the percussion providing some bottom end, that contrasts with the mids of the
strings and the mid to high frequencies of the vocals. Additionally the arrangement has space, which
allows the song to breathe and creates a contrast in dynamics.

What processing or effects can you discern in the mix and what is the impact of their
application on the musical material?

Processing and effects:

Strings: Avid TL Space, Slate Digital VMR, VTM & VBC, Waves Renaissance EQ, Hybrid EQ, Q10,
Renaissance Bass & S1, SoundToys Decapitator, Kush Audio Clariphonic, FabFilter ProMB,
iZotope Ozone 6.27
Vocals: Teletronix LA2A, Waves Renaissance EQ, HDelay, C1, FabFilter ProQ & ProMB, Slate
Digital VMR, Softube RC4828
Beats: Ableton EQ, reverb & compression29

27 Tingen, P 2015, Inside Track: Bjrks Vulnicura Secrets Of The Mix Engineers: Bjrk, Chris Elms, Arca & The Haxan Cloak, Sound on Sound, retrieved
10 May 2017<http://www.soundonsound.com/techniques/inside-track-bjorks-vulnicura>

28 Tingen, P 2015, Inside Track: Bjrks Vulnicura Secrets Of The Mix Engineers: Bjrk, Chris Elms, Arca & The Haxan Cloak, Sound on Sound, retrieved
10 May 2017<http://www.soundonsound.com/techniques/inside-track-bjorks-vulnicura>

29 Tingen, P 2015, Inside Track: Bjrks Vulnicura Secrets Of The Mix Engineers: Bjrk, Chris Elms, Arca & The Haxan Cloak, Sound on Sound, retrieved
10 May 2017<http://www.soundonsound.com/techniques/inside-track-bjorks-vulnicura>
Impact:
When Bjrk contacted mix engineer Bobby Krlics to complete Vulnicura her idea was to further
explore the albums distressed mood and gloomy subject matter. In his role as mix engineer Bobby
Krlics believed that because the lyrics were so raw, direct and personal, the way in which many of the
songs were mixed was guided by that. Specifically with Black Lake, Krilic felt it very important that
the vocal remained very upfront, whilst retraining its intimacy.

The vocals were recorded with a warm sounding ribbon microphone. A Clariphonic EQ is added to
create some upper end sweetness, and the Virtual Mix Rack Revival, adds warmth without making the
mix sound muddy. With the plug-ins on the vocals, the VMR removes some harshness, and is
automated to remove some 1.5kHz when Bjrk sings which creates space for the violas. Finally the
Slate Digital Tape Machine that adds some energy to the overall mix.

The Strings used the Slate VMR Revival and the Q10 parametric EQ to remove some of their harsher
frequencies. Additionally The Slate Virtual Tape Machines adds warmth and the Ozone 6 creates
width.

Where the percussion is concerned, EQ and reverb provide an appropriate amount of space for the
beats to breath within the song. Finally compressors, including the Glue and again the EQ Eight, are
used to add some high end.

Are there any elements of the mix you would change/adjust? Why/why not?
No. The song is such a personal confession that to change any element of the mix would take away
from its personality.
References
Baker, J. (2014, Nov 04). Taylor swift matures in her songwriting with "1989''. University Wire

Buskin, R 2006, CLASSIC TRACKS: Bob Marley & The Wailers: 'I Shot The Sheriff', Sound on
Sound, retrieved 30 April 2017< http://www.soundonsound.com/people/classic-tracks-bob-marley-
wailers-i-shot-sheriff>

Deruty, E 2011, 'Dynamic Range' & The Loudness War, Sound on Sound, retrieved 4 May
2017<http://www.soundonsound.com/sound-advice/dynamic-range-loudness-war>

Khasawnih, A 2012, MIAs Bad Girls video: how empowering are stereotypes?, The Seattle
Globalist, retrieved 08 May 2017, <http://www.seattleglobalist.com/2012/02/21/mias-bad-girls-video-
is-bad-news-for-arab-women/1273>

King, S., & Jensen, R. J. (1995). Bob marley's "redemption song": The rhetoric of reggae and
rastafari. Journal of Popular Culture, 29(3), 17.
http://search.proquest.com.ezproxy.une.edu.au/docview/195359293/fulltext/6532A6978D7840F1PQ/
1?accountid=17227

Klein, D 2014, Taylor Swifts Secret Music Man: Max Martin, Elusive Hitmaker, The Daily Beast,
retrieved 29 April 2017 <http://www.thedailybeast.com/articles/2014/10/16/taylor-swift-s-secret-
music-man-max-martin-elusive-hitmaker.html>

Leahey, A 2012, Behind the Song: Pink Floyds Wish You Were Here, American Songwriter,
retrieved 5 May 2017 <https://americansongwriter.com/2012/08/behind-the-song-pink-floyds-wish-
you-were-here/>

Hosken, Dan, Introduction to Music Technology, edited by Dan Hosken, Taylor and Francis, 2010.

Seabrook, J 2015, Blank Space: What Kind of Genius Is Max Martin? The New Yorker, retrieved
30 April 2017, <http://www.newyorker.com/culture/cultural-comment/blank-space-what-kind-of-
genius-is-max-martin>

Sinneberg, J. (2014, Oct 29). Critical voices: Taylor swift, 1989. University Wire.
Sutherland, Mark. "It never goes out of style: inside 1989's slowburning UK success: Virgin/EMI boss
Cockle hails million-selling swift as 'cultural phenomenon'." Music Week, 15 Feb. 2016, p. 3.
Expanded Academic ASAP.

Tingen, P 2015, Inside Track: Bjrks Vulnicura Secrets Of The Mix Engineers: Bjrk, Chris Elms,
Arca & The Haxan Cloak, Sound on Sound, retrieved 10 May
2017<http://www.soundonsound.com/techniques/inside-track-bjorks-vulnicura>

Wikipedia 2017, Echo, retrieved 25 April 2017,< https://en.wikipedia.org/wiki/Echo>

Zohdy, N 2012, What MIA's New "Bad Girls" Video Says About Arabs, MIC, retrieved 08 May
2017, <https://mic.com/articles/4080/what-mia-s-new-bad-girls-video-says-about-
arabs#.cZxBC7Jk5>