ABSTRACT
Pitch and timbre are closely related as recording elements. Pitch areas and pitch density link the two, and bring a connection with timbral balance and spectrum’s frequency relationships. As a recording element timbre functions on all structural levels, though the timbre of the sound source is central; inherent sound quality, recording’s modifications, sound object, acousmatic listening, timbral content are examined. Conceptions of timbre and approaches to observation contrast defining timbre’s physical properties and describing its singular character; timbre’s content of internal workings, isolated from outside considerations, contrasts with timbre’s character as interpreted by the listener and as situated within the track.
