Joel Cahen > Creating Surround Sound Narratives // Part.2

In a sonic narrative which does not rely on narration or dialogue time can stretch or compress as in cinema, but as opposed to cinema the ear is more forgiving than the eye when it comes to loops and ‘still frame’ sounds, the description of an environment can be static but full of internal dynamic changes which do not change the overall scene and sonic location

Within this sonic ‘still frame’ its possible to add various sound elements simultaneously which enhance the emotional, associative or dramaturgical character of the ‘still frame’ expanding it in more than one dimension which in cinema we are bound to. We can only see one thing at a time on screen and you cant have a true collage of elements perceived at once to create a holistic sense.

On the other hand, literal elements such as visual description of a character, or a set on all its props, or a wide panorama can be summarized in an instant soundbyte to give the idea of what is represented. These are elements which could have a poor or banal sonic element. This is another reason why I dont see working from a literal adaptation the way to go, it could serve as an inspiration and guideline but further away from the literal source than a visual adaptation.

If theatre is the equivalent to a standard radio drama in its use of foley and dialogue, then cinema is the equivalent to narrative based acousmatic music in  sound theatres. 

So what I am left with is an enormous amount of sound design in a multichannel setup, it is like being a stop-frame animator… 

more soon…

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