Imaginative Mixing

INTRODUCTION

Through technological progress, a new musical reality has emerged – electronic.
Starting from the need to record sound for the purpose of preserving and distributing a musical work, sound engineering has come to the ability to accurately process each recorded component, becoming a full-fledged tool that shapes musical reality. The resulting electronic copy of the work, unable to replicate the natural sensation of sound, created within itself its own alternative reality of natural space, with its own individual laws – mixing techniques, thereby making up for the difference in perception between natural and electronic sound.

At the same time, the creation of the synthesizer brought the opportunity to produce a piece of music from an electronic signal, while maintaining the principle of working with sound, based on reducing the emotional difference with the natural principle.

Live music unfolds in the natural environment through or for which it was created.
Electronic music has its own, fundamentally different, spaces that convey its inherent energy.

Existing simultaneously in both natural and electronic reality, the sound created by composers obeys only the laws of the natural world – it strives to replicate the natural space surrounding humans. Recorded sound, which is an artificial model of living nature, or a transmitter of the voice of a machine, located in an artificially created sound space and reproduced through sound systems, is not capable of reproducing the sensations of living nature. Therefore, it makes no sense to work with the space of a musical mix as an instrument for repeating live acoustic movement.

Sound engineering has become a tool – part of music. Every musical instrument, from the flute to the electric guitar, is a work of art. It is illogical to suppress the sound of a machine in a simulator of living space, since this space is created by a machine and must develop in accordance with its inherent needs and laws.

The composer strives to convey the musical idea to the listener as accurately as possible. The main impression of a person living in electronic reality is formed thanks to the sound of a recording of a work. Accordingly, the composer needs to use sound as an equal arranging tool.

Creativity is an original reaction of each individual to the reality around him. From which it follows that it is impossible to express creativity through copying.
This paper presents and explains the basic principles of conscious creative work with an artificial sound field, based on the visual perception of sound, to achieve complete musical individuality.

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Original work in Polish