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Thread September 3, 2016 editorial: comments

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1 September 3, 2016 editorial: comments

The Ear of the Beholder?

Did you ever wonder if we all see things the same way? I mean literally — with our eyes. If we both looked at a blue car, would you and I see the same shade of blue? According to scientific research, some people have a more heightened perception of color than others, and therefore see colors somewhat differently, at least in terms of vibrancy.

And how about sound? Do we all perceive it the same way? Obviously, there are variations in people’s ability to hear, based on differences in the health of their auditory systems. If your hearing isn’t as sharp as it should be at certain frequencies — due to age, noise exposure or some other hearing problem — your perception of sounds will be affected.

But what about people with undamaged hearing? Would they all hear the same sounds in the same way? Probably not. Physical differences in our auditory systems, specifically the size of the ear canal, and the bone density and shape of the skull, can impact how we perceive sounds, and even how we respond to them. 

Look at how we all react so differently to different types of music. I enjoy melodic music, but can only put up with a moderate amount of dissonance. I have colleagues, however, who like to listen to atonal experimental music that would send me running from the room screaming. 

Although most experts think musical taste is determined mainly by where you grew up, your level of musical training, and some other environmental factors, it’s certainly logical that physical differences in the way people experience sound may impact what pleases them.

And that brings me to the crux of the matter: How might such hearing differences impact us as recording musicians? Say I’m moving a microphone around to try to find the best sounding placement before recording an instrument. Will the spot that sounds best to me also be the “sweet spot” for everyone else?

And what might the ramifications be for the mixing process? Might adjustments of volume, EQ, panning and effects that feel right to me have a different effect on others?

My guess is that there are many other factors such as the song, the talent of the artist, the recording quality, and the overall skill of the mixer that are way more important to the success of a mix than any slight differences in listener perception of sound. But if anybody has any evidence to the contrary, I’d be interested to hear it…On second thought, reading it will be fine.

Enjoy your Labor Day weekend! Look for my next column on October 1st.

2
I've often wondered about this myself. Why is it that some people react so strongly to some types of music while completely being unmoved by other music? Why is it that some musicians, for example, hear "overtones" while others do not? Why is it that some people can hear a note and tell you it is an F#? or that it is the 3rd of a chord? Sure, some of these things can be learned, but sometimes I get the feeling it is more than that. I think some people "hear" differently just as people's ability to taste things are different, either in acuity or overall sense. I can't explain it, but I sense it is there. But these are just the ramblings of a blind, deaf man.
3
"And what might the ramifications be for the mixing process? Might adjustments of volume, EQ, panning and effects that feel right to me have a different effect on others?"

I can tell you this... I spend most of my day listening to something through earbuds. Working around the house, or out in the yard, I've got something flowing from my phone to my brain... and NOTHING drives me crazier than some fool who thinks it's cool to take an instrument or vocalist and pan that sound from full left to full right and back again two times a second. Dammm... All that does is induce vertigo. It's one of the few things that will cause me to yank the buds out of my ears to make it stop.
4
I've always thought that to be true. Though there's no scientific evidence , it only stands to reason. That's why there are producers who stand out from the crowd.
5
I always look forward for your Column every month because all points you raise are significant to the topics discussed as well as to the way I see things so the interest is raised to the pitch where every month is an expected urgency to read the next one - As for ears and sounds I'm one of those who cannot play a fluent solo when the guitar is out of tune - very string has to be bang on to whatever frequency the rest of the band is on whether A=440 above or below. Then there is the problem of noticing singers hit sharps and flats thru' performances. I'm quite sure you've experienced the same annoyance.

Anyhow, I used to back Mavies Rivers every time shes back in Samoa for a holiday & visit family and when we write the program for the shows she will start by singing the song and I'll quickly try and hit the Key-note on my guitar but before I do it she'll say,"Bb" and so she'll sing the next song and tell me its on "Eb", "G", "D", "Ab" and on and on?..Not sure if that is learned thru' being a professional musician for a number of years. But one thing I was sure of is she can identify every Key where her voice is on. That brings me back to the "Ear Of The Beholder" We can learn some but we may also agree that some people just have that gift of perfection in the music frequency department. Her new name to me was Mavis 'Digital' Rivers (RIP) One of the most beautiful voices of this Century.The incredible fact about her family is they all have it in the ear. cheers & looking forward to the next one. Kakamusika...