Almost everyone knows that in the modern art of music is very common to use a soundtrack. The sound recording is not averse to sing sometimes even the most well-known stars of world music. We will understand just what are the characteristics of modern soundtracks and use them in the sound images.
In the practice of modern sound design is still no precise definition of "sound image". There are a number of traditional parameters, which made its analysis and evaluation (spatial impression, acoustical and musical balance sheets, etc.), clearly marked with the sound image quality criteria to compare a particular soundtrack in this respect, but the most important definitions-that there is a sound image phonograms,-does not exist.
Legally (in the legislation) soundtrack-any sound recording of music or other sounds. Audio recording on Compact Cassette (or disk) and sound recording, which is an integral part of the movie (the movie) will be protected in different ways. Phonogram-a product of the collective efforts of many professionals: composer, music editor, artist, sound designer, recording engineer, and other participants in this work.
But the soundtrack is not, in general, is the fruit of the labor of the individual producers, and sound image.
In our time in sound design, however, is not enough objective determination of the sound image. And this situation is enhanced more by the fact that until today is not installed and used relationships soundtrack sound image in it. This caused many legal incidents that arise in matters relating to copyright and related rights. Sound image-a set of elements of speech, music, noise effects, which, through associations summarized create understanding of the phenomenon, a material object, a person's character, historical event, etc. The sound image is a fundamental concept in musical sound, because the greatest part of the work is the creation of a sound engineer and sound image. The development of the sound image by a constant improvement of technical means recording with which it is created.
The problem with the sound image in the phonograms of our time remains little studied, so the relevance of this problem and the solution of many problems associated with it, has confirmed the very formulation of the theme. Scientific works in the field of sound engineering is clearly lagging behind the practice, and the problems of the sound image in today's Phonograms yet remains uncharted. There is a variety of literature on Maintenance Record, and on the subject of the sound image is written only one work: Gibson D. "The Art of Mixing", as well as less accessible to simple layman dissertation Shlykova VA "sound image in modern music tracks."
Critical analysis of provisions existing in this field, summarizes the most rational of them. Such an analysis is very important for the development of the theory of the use of sound image in phonograms, as research subjects-very important.
In order to achieve the intended purpose it is necessary to solve the following problem:
The theory of the sound image is the basis of a stable foundation for the creative development of sound engineering practice, because it creates a kind of "legal basis". Taking this as a base, sound engineer, who loves to experiment with innovative ideas, can explain the legal legitimacy of the discovery and, thus, to prevent the non-constructive criticism.
The practical significance of the theory of the use of sound image in the phonograms:
It should be noted that contemporary classical music, for example, is still written in an archaic style of classical (traditional) sound design, which further slows and narrows the search for a composer. Therefore, the development and improvement of the use of sound image in a phonogram would dramatically change the musical art of our time ...
In this context, we should recall the ideas Severin Vasilyevich Pazukhin-prominent reformist ideas about what might be the sound image of classical music to the second half of XX-beginning of XXI century. His ideas put forward another 40 years ago, unfortunately, have been forgotten. However, in light of recent developments in the field of culture, and in particular-cinema, ideas SV Pazukhin may soon be revived using mnogoprostranstvennosti, dynamic acoustic balance in the classical repertoire. Rather, they re-opened. If you listen to, for example, the sound image of the soundtrack from the movie "Avatar" (directed by John. Cameron), who created the sound engineer John. Horner fragment «Scorched Earth», you can find here all of these ideas, except timbral violins. The man who does not know that this is the soundtrack to the film, might suggest that he listens some modern symphony's recorded master.
It is necessary that researchers and all interested to know that all of these findings in the field of sound symphony orchestra have been 40 years ago and came up with a brilliant sound engineer, our compatriot-Severin Vasilyevich Pazukhin.