Perceptual Evaluation in Music Production

Man, Brecht De; Stables, Ryan; Reiss, Joshua D.

doi:10.4324/9781315166100-6

Cited by 5 publications

(10 citation statements)

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“…Songs were split into three study groups, where mixes for songs within a study group were created by 8 student mix engineers and their instructor, who was a professional mix engineer (the same professional mix engineer participated in Groups 1 and 2). These mixes were obtained from the experiment conducted in [2]. Mixes of a song had been rated for mix quality by all the members of the other study groups, so no one rated their own mix.…”

Section: Stimulimentioning

confidence: 99%

“…Mixes of a song had been rated for mix quality by all the members of the other study groups, so no one rated their own mix. Further details on how the stimuli was obtained can be seen in [2]. For our experiment, we selected the lowest and highest quality mix of each song.…”

Section: Stimulimentioning

confidence: 99%

“…There have been several studies that have looked at why people prefer certain mixes over others. [2], [3] conducted a mix experiment where groups of nine mix engineers were asked to mix 10 different songs. The mixes were evaluated in a listening test to infer the quality as perceived by a group of trained listeners.…”

Section: Introductionmentioning

confidence: 99%

“…In [4], we analysed the same tracks used in [2], [3], to ascertain the impact of subgrouping practices on mix preference, where subgrouping involves combining similar instrument tracks for processing and manipulation. We looked at the quantity of subgroups and the type of subgroup effect processing used for each mix, then correlated these findings with mix quality ratings to see the extent of the relationship [5].…”

Section: Introductionmentioning

confidence: 99%

“…The purpose of the current study is to determine the extent of the link between music production quality and musically induced and perceived emotions. The participants in this study listened to low and high quality mixes (rated in [2], [3]) of the same musical piece. We then measured each participant's subjective experience, peripheral physiological changes, changes in facial expressions and head nods, and shakes as they listened to each mix.…”

Section: Introductionmentioning

confidence: 99%

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An empirical approach to the relationship between emotion and music production quality

Ronan,

Reiss,

Gunes

2018

Preprint

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In music production, the role of the mix engineer is to take recorded music and convey the expressed emotions as professionally sounding as possible. We investigated the relationship between music production quality and musically induced and perceived emotions. A listening test was performed where 10 critical listeners and 10 non-critical listeners evaluated 10 songs. There were two mixes of each song, the low quality mix and the high quality mix. Each participants subjective experience was measured directly through questionnaire and indirectly by examining peripheral physiological changes, change in facial expressions and the number of head nods and shakes they made as they listened to each mix. We showed that music production quality had more of an emotional impact on critical listeners. Also, critical listeners had significantly different emotional responses to non-critical listeners for the high quality mixes and to a lesser extent the low quality mixes. The findings suggest that having a high level of skill in mix engineering only seems to matter in an emotional context to a subset of music listeners.

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Section: Stimulimentioning

confidence: 99%

Section: Stimulimentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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An empirical approach to the relationship between emotion and music production quality

Ronan,

Reiss,

Gunes

2018

Preprint

Self Cite

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Semantic Music Production: A Meta-Study

Moffat¹,

Man²,

Reiss³

2022

J. Audio Eng. Soc.

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This paper presents a systematic review of semantic music production, including a metaanalysis of three studies into how individuals use words to describe audio effects within music production. Each study followed different methodologies and stimuli. The SAFE project created audio effect plug-ins that allowed users to report suitable words to describe the perceived result. SocialFX crowdsourced a large data set of how non-professionals described the change that resulted from an effect applied to an audio sample. The Mix Evaluation Data Set performed a series of controlled studies in which students used natural language to comment extensively on the content of different mixes of the same groups of songs. The data sets provided 40,411 audio examples and 7,221 unique word descriptors from 1,646 participants. Analysis showed strong correlations between various audio features, effect parameter settings, and semantic descriptors. Meta-analysis not only revealed consistent use of descriptors among the data sets but also showed key differences that likely resulted from the different participant groups and tasks. To the authors' knowledge, this represents the first meta-study and the largest-ever analysis of music production semantics.

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The Role of Communication and Reference Songs in the Mixing Process: Insights From Professional Mix Engineers

Sai Vanka,

Safi,

Rolland

et al. 2024

J. Audio Eng. Soc.

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Effective music mixing requires technical and creative finesse, but clear communication with the client is crucial. The mixing engineer must grasp the client's expectations and preferences and collaborate to achieve the desired sound. The tacit agreement for the desired sound of the mix is established using guides like reference songs and demo mixes exchanged between the artist and the engineer. This paper presents the findings of a two-phased exploratory study aimed at understanding how professional mixing engineers interact with clients and use their feedback to guide the mixing process. For phase one, semistructured interviews were conducted with five mixing engineers with the aim of gathering insights about their communication strategies, creative processes, and decision-making criteria. Based on the inferences from these interviews, an online questionnaire was designed and administered to a larger group of 22 mixing engineers during the second phase. The results shed light on the importance of collaboration and intention in the mixing process and can inform the development of smart multitrack mixing systems. By highlighting the significance of these findings, this paper contributes to the research on the collaborative nature of music production and provides actionable recommendations for the design and implementation of innovative mixing tools.

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Perceptual Evaluation in Music Production

Cited by 5 publications

References 0 publications

An empirical approach to the relationship between emotion and music production quality

An empirical approach to the relationship between emotion and music production quality

Semantic Music Production: A Meta-Study

The Role of Communication and Reference Songs in the Mixing Process: Insights From Professional Mix Engineers

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