• Mono-Is an audio system in which the signals are mixed and then worked trough a single audio channel.
• Stereo-Is a recording onto two separate audio channels, Left ad Right.
• The Pan Law-is a recording and mixing principle that states that any signal of equal amplitude and phase that is played in both channels of a stereo system will increase in loudness up to 6.02 dBSPL, provided there is perfect response in the loudspeaker system and perfect acoustics in the room.
• Ambisonics-A method of recording, mixing and playing back three dimensional, 360 degree audio.

In the opening lesson we began to discuss the different types of speaker layout in relation to a Quadraphonic and 5.1. Ultimately deciding that we can contend the traditional idea of a ‘sweet-spot’ usually considered in the middle of the installation space.

I have fallen into this trap myself when setting up speakers for gigs and parties, most often I will stand in-front of the speakers, dead centre, in order to judge the quality of sound. However this is limiting and neglects the participatory aspect of an installation or party. It is very rare unless instructed to do so that the audience will stand still, therefore the entire performance/listening space becomes an evolving vessel for the audience to explore. For example pockets of space may sound completely different to the other side of the room.

‘We no longer need to restrict ourselves to the Quadraphonic setup or LCRS Format for every setup can heed different results.’

Multi-Channel Scores:

In this initial workshop Ingrid Plum introduced us to ‘Scoring for Multi-Channel Works’. Very similar to the abstract Graphic Scores I learnt about in first year, multi channel scores enable the creator to clearly map out the ambisonic’s of the piece. As abstract or detailed as you like, the scores are designed to be interpreted for a quadrophonic or more speaker setup.

It was very interesting to see the many takes my classmates had on this task for the results seemed endless. Each score was completely unique and original. My own score took inspiration (strangely) from Dante’s ‘Inferno’, I’m not sure why but I began to map out my sounds in decreasing layers, each ring/layer expressed a section of the piece. For example my score consisted of four rings, intended for to be read as running time; 1minute, 2minutes, 3minutes and 4minutes.