Secondary Research

‘ The craft of sound recording lies in balancing the technical precision of the equipment with the emotional and artistic intent of the artist. It’s not just about how things sound, but how they make us feel. ‘

‘Sound Recording-the life story of a technology’, David L. Morton JR., 2006

One of the most important aspects of sound recording is its ability to move people emotionally. The listener doesn’t just hear the technical details—they feel the sound.

As Morton may indicated in this book, striking a balance between the art and science of sound recording involves realizing that sound’s technical and emotional aspects are equally significant. You risk losing control over the sound, clarity, and quality if you lack technical expertise. The technical work, however, may fall flat and fail to engage listeners on a deeper level if the recording’s artistic and emotional goals are not understood.

The Art of Sound Recording (Emotional and Artistic Intent)
‘ While the technical side ensures that a recording is clear, accurate, and of high quality, it’s the artistic side that gives sound recordings their emotional depth and impact. This is where the balance becomes more nuanced:

Capturing the “Feel” of a Performance: A key role of the recording engineer is to preserve the emotional expression of the artist. For example, if you’re recording a jazz band, the live, spontaneous interactions between the musicians should be captured as part of the atmosphere, not just the notes they’re playing. ‘

‘Sound Recording-the life story of a technology’, David L. Morton JR., 2006

My thoughts, Targets?

As far as I can see, the importance of recognising or confirming the certain targets when doing recordings is super considerate.

When I’m playing an audio to audiences, I have to think about the exact feelings or thoughts they had at the moment from this audio.

Therefore, it can be helpful if the artist or the sound engineer have tried to feel or touch the sound movements from the daily life at first. This is what I always believe actually, only if you believe what happened at first, then others will believe probably. As same as the field recording, I have to believe the targets I’m recording is literally the true species, age, gender, even the motions I want at first. Then I can consider these are the materials which are available used for the further works.