ABSTRACT
Signal treatments and deployments in fixed-media music productions can cause significant distortions to the representation of space in presented works. The logic of the space suggested in musical works is a low-priority consideration in production praxis, with much practice being spatially nonchalant, catalysing tendencies to create peculiarly represented forms. A listener can be fully committed to Doyle’s ‘spatial contract’ that finds accord in the spatially peculiar, providing license to defy a total sense of logic. The concept of the spatial sample is introduced, alongside broader considerations of how space is distorted in music production praxis. More specifically, the multiperspective manifestations of multi-microphone instrument capture and the subsequent presentation is considered, in addition to the effect of amplitude dynamics processing, that alters the represented temporal behaviour of sound in space, often resulting in unnatural spectromorphological contours and perspectival distortions.
