Imogen heap Analysis - Grade: 1st PDF

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

Imogen Heap -Hide And Seek (2005) ‘Hide And Seek’ comes from Heap’s 2005 album ‘Speak For Yourself’. The song features limited instrumentation using only vocals being sung into a harmoniser creating the illusion of a choir, Brice (2001) suggests that the harmoniser is a vocoder ‘able to sing in perfect harmony with itself’. The vocals start (0.01) with a vocal track and harmoniser until 0.36, when the vocal is double tracked increasing the volume of the song as the song moves towards the chorus. At 1.10 the only sound in the mix is the reverb of the harmoniser. The reverb on the harmoniser is different on the sides to the middle (shown in figures 1-3), using Voxengo’s MSED, it can be heard that there is a 2.5 second (approx.) reverb on the sides and a 0.5 second (approx.) reverb in the middle. The reason for this is to add a sense of space, to the track by adding a larger reverb to the sides. Using Huber and Runstein’s (2014) definition of the different types of reverb it can be deduced that the reverb on the sides of the track is a room reverb, as in the track the verb is used to ‘increase the size’ of an instrument.

Figure 1: all sound from the middle of the track, Figure 2: all sound from the sides of the track, Figure 3: all sound from the track The track returns to being one vocal track for the choruses (1.15 & 2.20), thinning the texture and creating a intimate sound for the choruses, when compared to the verses there is less low-end in the chorus, creating an airy sound in the chorus, clearly defining the chorus in the song whilst keeping the same secluded, accapella feeling to the track. In the second verse (1.47) the two secondary vocal tracks from the first verse return filling the mix with more reverb and more low-end. Using a Sonic Visualiser’s melodic spectrum pane (shown in figures 4-5) it can be seen that the low-end in the verses have been compressed. This maybe to balance the tone of the harmoniser and Heap’s voice more; as Heap’s voice is most resonant in the middle to high frequencies (800 Hz–2.5 kHz), meaning the low-end of the harmoniser maybe slightly quieter. This compression was probably achieved using a multiband compressor; Huber and Runstein (2014) insinuate that multiband compression can be used to ‘maximise the benefits’ of bandwidths within an instrument.

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

Figure 4: low-end richer verse, Figure 5: chorus’ lack of low-end An additional background vocal is added (2.32) during the second chorus (2.20). This background vocal could have been added so that each of the choruses is clearly defined, so that the song doesn’t become repetitive. This vocal track moves from right to left, this can be heard most clearly on the word ‘Hearts’ (2.42). The first syllable of the word starts on the right then moves to the left for the second syllable (2.43). Where the panning used on the reverb is used to create space, the panning on this vocal line is used for creative purposes. Dockwray and Moore (2010) describe the use of creative panning in their ‘taxonomy of mixes’ as a dynamic mix, as there is ‘some level of movement’ present when the sound source ‘moves literally’ from left to right. (Dockwray and Moore, 2010) In the middle eight section (2.53) there is a double-tracked vocal singing the main line according to Brice (2001) a double-tracked vocal line should ‘give the impression of a richer, smoother voice’ rather than two performances, Heap’s seamless blending of her two vocal tracks adds body creating a ‘smoother’ sound. At 3.14 a harmony vocal is added, sitting behind the main vocal line. Heap uses volume and panning to blend her background harmonies to her main vocal line throughout the track, Benediktson (2016) suggests using a ‘EQ cut’ on the background vocals, to blend the vocals making the lead ‘stand out’, rather than using an EQ cut, on the main vocals and risk loosing some of their body. Heap pans the background vocal from right to left, keeping the lead vocal in the middle, allowing the lead vocal to remain the most prominent part of the mix. The outro of the song (3.24-3.31) is a vocal singing an ostinato, at 3.28 some breathing is audible; it’s possible that Heap kept the breathing in so that the vocal sounded human with the vocoder. This theory is supported; as throughout the song Heap’s breathing isn’t cut and is never heard through the vocoder, creating a cybernetic aesthetic. At 3.29 the ostinato becomes part of a call and response with another vocal line (3.31). These vocal lines have a similar tone to the chorus vocals, having little prominence in the lo-mid and low-end. At 3.40 the call and response changes, to two vocal lines sing different melodies at the same time. At the end of the song (4.17) there are barely audible bell sounds. These sounds where probably accidentally recorded but haven’t been removed so the lack of instrumentation in the song is more chilling. Gibson (2005) uses the creation of a ‘sound-box’ diagram, to help show the ‘imaging’ of the song, using the horizontal plane to represent the stereo field, the vertical plane to represent frequency and the depth to represent the volume. Figure 6 shows the ‘sound-box’ for ‘Hide and Seek’, the three loudest elements of the mix that sit at the front are the main vocal, the harmoniser and the harmoniser’s lowend. These are at the front, as Heap likes to create a ‘vocal centric’ mix (Sherborne, 2009). Another reason is that the mix isn’t densely populated with instruments so the vocals are heard more clearly anyway. The harmoniser stretches across the track from the very low-end (50 Hz) to the high-end (5 kHz), the harmoniser is used to add harmonies to Heap’s vocal that occupies the mid to high-mid range (800 Hz– 2.5 kHz).

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

Figure 6: Hide and Seek (2005) ‘sound-box’ The cybernetic aesthetic of ‘Hide and Seek’ has made vocal manipulation a core part of modern synth-pop allowing artists like FKA to flourish in Heap’s wake. However, using Regev (2013) and Carah (2010)’s two definitions, ‘Hide and Seek’ is not authentic synth-pop but authentic phase 1 synth-pop. Regev (2013) defines synth-pop in two phases the first being ‘bleak, isolationist and industrial’ (Army Of Me - Björk, 1995) and the second phase as ‘bright and optimistic’ (We Like To Party - Vengaboys, 1999). Carah (2010) defines synth-pop as being ‘nostalgic’ like ‘The Pet-shop Boys’ but ‘Hide and Seek’ doesn’t really have a ‘nostalgic’ sound, instead sounding more modern. Imogen Heap - 2-1 (2009) ‘2-1’ features on Heap’s 2009 album ‘Ellipse’, ‘2-1’ features the use many instruments: digital synths, analogue synths and acoustic instruments. The song starts (0.00-0.03) with an ambient build into the track; the ambient build is created using a whirly tube with a long tail reverb, which sounds pitched. Izhaki (2008) refers to this effect as ‘tuning’, saying tuning can be used to ‘widen or narrow’ an instruments frequency range. According to Heap (FutureMusic Interview, 2009) she tunes the reverb using an EQ unit, in the DAW, boosting the frequency that is closest to the note she wants to tune to, using automation to change the frequency. Using Sonic Visualiser it can be seen (figure 7) that 310 Hz is being boosted. At 0.06 the drums come in, the sound for the drums were created by striking Plexiglas lighting panels (Heap, 2009), the hollowness of the drums was likely created using an EQ cut at around 150 Hz–200 Hz. This cut would lead to the hollow sound as it reduces the more resonant frequencies of the ‘instrument’.

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

Figure 7: Sonic Visualiser showing the boosted frequency In the very background of the mix (0.05) a clicking sound is audible. This ‘clicking’ sound has a medium sized reverb (1 second approx.), likely used to create space so that the sound fits with the ambient intro. The ‘clicks’ sound like they are being affected some form of volume automation, as they rise in volume over time (0.130.16). These ‘clicks’ move around in the stereo field of the track, never settling. Heap creates this moving effect using the ‘Waves’ Enigma’ plugin. Enigma is a tool that has been utilised to ‘throw the track around… create a nice space’ (Heap, 2009). This use of pan modulation sees the ‘performance space’ that Moylan (2015) describes panning is used for, ignored in favour of ‘dynamic’ panning, as described by Dockwray and Moore (2010). The verses feature the vocals at the very front of the mix, similar to ‘Hide and Seek’, ‘2-1’ is a ‘vocal centric’ (Sherborne, 2009) mix. The main vocal has a long reverb (2 second approx.) affecting them. This reverb is heard on the sides of the track, it can be deduced that Heap is using a stereo reverb panned hard each way, so that a ‘performance space’ (Moylan, 2015) can be created for the vocals. Figures 8-10 show that there is reverb affecting the main vocal line. This could be the stereo reverb. However, according to Sherborne (2009) its more likely to be a delay unit, as Heap ‘prefers’ delay over reverb because delay causes less ‘filling’ in the mix. Izhaki (2008) agrees with Heap stating that delays can be used to create ‘space’.

Figure 8: all sound from the middle of the track, Figure 9: all sound from the The verses feature synth sides of the track, Figure 10: all sound from the track accompaniment; according to Heap (2009) the synth was created using Logic Pro’s B3 organ synth as well as Ult. Sound-bank keys. The synth sound is hollow and was probably constructed from a square-wave; the hollowness of the synth perfectly melds with the hollow drum sound for a dark, brooding aesthetic. A trumpet can be heard playing in the background throughout the verse. This trumpet has the same reverb and delay as the lead vocal. This is so the instruments sound like they are in the same room. The trumpet is described by Heap (2009) as ‘flute like’. This might be why Heap decided to use pitch-correction on the trumpet, adding synthesised brassy tones to the trumpet. The trumpet is also affected by Enigma, as it moves around the mix. More instruments are introduced in the chorus (0.49). So the section is clearly defined. One of the instruments that is added, is a bass synth that enhances the kick drum. This synth is used to ‘shift’ tuning into the drums, ‘thickening’ the low-end (Izhaki, 2008). Another instrument that is added is a jaw-harp; the jaw-harp

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

creates an ambient ‘wub’ further adding to the song’s aesthetic. This ‘wub’ was created through multi-tracking jaw-harp, then adding reverb to make the jaw-harp sound bigger. It is likely that some of the jaw-harp tracks have been pitch-shifted or have low-end boosts in their EQ, as the sound that is produced occupies the low-end (200 Hz-300 Hz). However, the jaw-harp that was used in recording (shown in FutureMusic’s 2009 interview) is more resonant in the mid-range (500 Hz-1 kHz). These instruments fade out when moving to the sections following the choruses. Another if the instruments added in the chorus, are the strings. Layering real strings onto sampled strings created the string sound in ‘2-1’. The real strings were recorded using a Neumann TLM-103 (Heap, 2009) and are more present in the mix than the samples. A reason the TLM used for recording the strings is that it has a clear mid range and high end (Sound On Sound, 1998), meaning it will record the more resonant areas of the strings. The samples come from the ‘Golden Strings’ sample-pack and are used to crispen the parts that the TLM couldn’t. There are two sets of samples, the first plays with a bend to the next note, the second plays without a bend. ‘ You can hear the formants of what the string should be doing, and you can hear the formants of what it should not…. tricking your ears’ – Imogen Heap (2009) The second chorus adds a bass synth that follows the ‘wub’ of the jaw-harp. The synth is used to thicken the low-end of the chorus as it crescendos. Heap shows how she did this in her 2009 interview with FutureMusic. The thickening is achieved using distortion and frequency modulator (Avid’s Sci-Fi plugin) to artificially boost the synth’s low-end. The synth sounds like a ‘low-pass’ filter is affecting it, as the high-end of the synth seems to be rather thin. Figures 11 and 12 show the ‘sound-boxes’ for ‘2-1’, figure 2 showing the intro and verses and 3 showing the choruses. The loudest element of the intro and verses are the vocals, much like ‘Hide and Seek’ the mix is vocal centric, Using Dockwray and Moore’s (2010) taxonomy of mixes, ‘2-1’ would be classified as a dynamic mix due to the movement of the instruments in the mix. The loudest part of the choruses again is the vocals. The strings are second loudest and help to balance the mid-range frequencies against the highs of the vocal and the low-end of the drums and the synths.

Figure 11: ‘2-1’ (2009) sound-box (intro and verses)

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

Figure 12: ‘2-1’ (2009) sound-box (choruses) The brooding aesthetic of ‘2-1’ has allowed parts of orchestral and gothic music to crossover to synth-pop allowing artists such as, Grimes to develop their sound. However, much like ‘Hide and Seek’, using Regev’s (2013) definition, ‘2-1’ is authentic phase 1 synth-pop, (Regev, 2013), being ‘dark’ and brooding. However, Carah’s (2010) definition of synth-pop as being ‘nostalgic’ and ‘80s’, doesn’t apply to 2-1 as it doesn’t evoke any nostalgia and didn’t aim to. Imogen Heap – Run-Time (2014) ‘Run-Time’ features on Heap’s 2014 album ‘Sparks’. One of the key differences in ‘Run-Time’ (2014) from the other two tracks is the increased use of synthesisers. The main synthesiser used in the track, a bass synth, which plays the melody in the verse and middle eight. The main portion of ‘Run-Time’ (2014) is more bass heavy than ‘2-1’ (2009) as shown in figures 13 and 14.

Figure 13: the more bass heavy ‘Run-time’ (2014)

Figure 14: The less bass heavy ‘2-1’ (2009) 6

Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

29/11/16

The punch of the kick-drum is attributed to the heavy use of compression on it. The power compression on the kick is shown in figure 14. Figure 14 shows kick’s compression forcing the kick to present in the higher-end of the track. The punch to the bass synth was achieved through side-chaining the kick to the synthesiser. Colletti (2013) states that side-chain compression is present in most ‘EDM’, a genre similar to synth-pop, Colletti (2013) describes side-chain compression as ‘a fundamental technique, bordering on necessity’ (Colletti, 2013). Another track that shows examples of side-chaining is Daft Punk’s 1997 track ‘Around The World’ Another difference in ‘Run-Time’ (2014) is the change in aesthetic. ‘Run-Time’ (2014)’s aesthetic seems to closer resemble the synth-pop of the 1980s (e.g. Duran Duran) and being closer defined as phase 2 synth-pop (Regev, 2013) and being authentic through Carah’s (2010) definition of ‘nostalgic and retro’. ‘Run-Time (2014) is categorised as a dynamic mix, using Dockwray and Moore’s taxonomy of mixes, as the harp, strings and guzheng in the song drift in terms of their placement in the stereo field, until the outro section where these acoustic instruments settle in the centre of the mix. Figure 15 shows the ‘sound-box’ for ‘Run-Time’ (2014).

Figure 14: sound-box for ‘Run-Time (2014) Summary The evolution of Heap’s production has predominately been in instrument usage. Heap started using a few electronic instruments and moved on to use more acoustic instruments and more electronic instruments by 2014. Heap’s change in aesthetic and shift from phase 1 synth-pop to phase 2 synth-pop (Regev, 2013) may have help attribute to her evolution as a producer. Bibliography

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

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Benediktson, B. (2016). 3 Quick Ways to Blend Backing Vocals In Your Mix. Available: http://www.audio-issues.com/music-mixing/ways-to-blend-backingvocals/. Last accessed 4 Dec 2016 Björk (1995) Post [CD], Track 1. England, UK: One Little Indian. Brice, R (2001). Music Engineering. 2nd ed. Burlington: Newnes. Carah, N (2010). Pop Brands: Branding, Popular Music, and Young People. Bern, Switzerland: Peter Lang Publishing INC. Colletti, J. (2013). Beyond The Basics: Sidechain Compression. Available: http://www.sonicscoop.com/2013/06/27/beyond-the-basics-sidechaincompression/. Last accessed 5th Dec 2016 Daft Punk (1997) Homework [CD], Track 7. England, UK: Virgin Records. Dockwray, R and Moore, A. (2010). Configuring The Sound-Box 1965-1972. In: Popular Music (Volume 29/2). Cambridge, UK: Cambridge University Press. FutureMusic. Heap, I. MusicRadar (recorded 2009, uploaded 2012). Imogen Heap 2-1.Available: https://www.youtube.com/playlist? list=PLlDPG7tafEOwjOLYa0LOGhZ3YN53DfIst. Last accessed 5th Dec 2016. FKA twigs (2014) LP1 [CD], Track 1. UK: Young Turks Gibson, D. (2005). The Art Of Mixing, 2nd ed. Boston, USA: Boston Corse Technology Grimes (2015) Art Angels [CD], Track 3. London, UK: 4AD Heap, I (2005) Speak For Yourself [CD], Track 5. Shrewsbury, UK: White Rabbit Records. Heap, I (2009) Ellipse [CD], Track 8. Havering, UK: Megaphonic Records Heap, I (2014) Sparks [CD], Track 10, Havering, UK: Megaphonic Records Huber, D.M. and Runstein, R.E. (2014). Modern Recording Techniques. 8th ed. Burlington: FocalPress. Izhaki. R (2008). Mixing Audio. 2nd ed. Burlington: FocalPress. Moylan, W (2015). Understanding And Crafting The Mix. Burlington: FocalPress. Sherborne, S. (2009). Imogen Heap: Recording Ellipse. Available: https://www.soundonsound.com/sos/dec09/articles/heap.htm. Last accessed 3 Dec 2016.

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Lewis Quilter (4mp1) Production Analysis: Imogen Heap’s Evolution

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Sound On Sound. (1998). Neumann TLM103, Review. Available: https://www.soundonsound.com/sos/jun98/articles/neumann.html. Last accessed 4 Dec 2016. Regev, M (2013). Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity. UK: Polity Press. Vengaboys (1999) The Party Album [CD], Track 5. USA: Strictly Rhythm

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