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Configuring the sound-box 1965–1972

Published online by Cambridge University Press:  16 June 2010

Ruth Dockwray  and
Allan F. Moore
Ruth Dockwray
Affiliation:
Faculty of Media, Arts & Society, Southampton Solent University, East Park Terrace, Southampton, Hampshire SO14 OYN, UK E-mail: Ruth.Dockwray@solent.ac.uk
Allan F. Moore
Affiliation:
Department of Music & Sound Recording, University of Surrey, Guildford GU2 7XH, UK E-mail: Allan.Moore@surrey.ac.uk
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Abstract

When a stereophonic track is heard through headphones or over loudspeakers, the image of a virtual performance is created in the mind. This virtual performance, which exists exclusively on the record, can be conceptualised in terms of the ‘sound-box’ (Moore 1993), a four-dimensional virtual space within which sounds can be located through: lateral placement within the stereo field; foreground and background placement due to volume and distortion; height according to sound vibration frequency; and time. From the mid-1960s, the increasing shift from mono to stereo meant that producers and engineers had to contend with the notion and potential of a song's sonic arrangement or mix, resulting in a disparity of sonic placement and a diverse range of sound-box configurations. By 1972, a normative positioning of sound sources within the sound-box was established, which we term the ‘diagonal mix’. This article focuses on the consolidation of this norm by means of a ‘taxonomy of mixes’ and the utilisation of visual representations which detail the sound-box configurations of a variety of pop/rock, easy listening and psychedelic tracks from 1966 to 1972.

Type
Articles
Information
Popular Music , Volume 29 , Issue 2 , May 2010 , pp. 181 - 197
Copyright
Copyright © Cambridge University Press 2010

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