This paper investigates the importance of forming the virtual space in recorded music. With a production-analytical model called the sound-space I seek to draw attention to the ways in which spatiality in recorded sound affects interpretation of meaning in music. The sound-space comprises both the four-dimensional spatiotemporal organization of previous models for sound analysis, and the ways in which that organization emphasizes meanings in recorded music. In order to demonstrate how the sound-space can be applied in production I have recorded and mixed a song and compared it to a previous version that was produced before the work on the sound-space concept started.
This paper outlines a theoretical framework for interaction with sound in music mixing. Using cognitive linguistic theory and studies exploring the spatiality of recorded music, it is argued that the logic of music mixing builds on three master metaphors—the signal flow metaphor, the sound stage metaphor and the container metaphor. I show how the metaphorical basis for interacting with sound in music mixing has changed with the development of recording technology, new aesthetic ideals and changing terminology. These changes are studied as expressions of underlying thought patterns that govern how music producers and engineers make sense of their actions. In conclusion, this leads to suggestions for a theoretical framework through which more intuitive music mixing interfaces may be developed in the future.