1. Presence Considerations In Music Production Jack Klotz and Matthew Lombard Temple University

2. A music producer/engineer and a telepresence scholar explore the current and potential application of presence research in the real world context of the recording industry. Recording and mixing techniques are compared in terms of the impact each has on the sense of presence experienced by the listener. A major goal is the development of recommendations for application by music industry professionals of techniques in their work that increase the sense of “connection” that fans feel with music and performers.

3. Overview: …Baby One More Time Busy Instrumentation Electric / Electronic Instruments MIDI Sequencing Wide Stereo Image Large Reverbs & Special Effects Sparse Instrumentation Acoustic Instruments Human Musicians Mono (Center Panning) Little to No Reverb or Effects Brittney SpearsTravis

4. Studio vs. Location KISS Clean Controlled Sound Lower “Energy” “One Way” Noisy Uncontrolled Sound Energetic & Exciting Interactive Studio RecordingLive Recording

5. Overdubbing vs. Performing Live Perfect Performances Controlled Sound Lower “Energy” Quality Flawed Performances Uncontrolled Sound Energetic & Exciting Fun Steely DanThe Beatles

6. MIDI vs. Musicians Stevie Wonder Perfect Performances Controlled Arrangement Lower “Energy” Imperfect Performances Musicians Interacting Energetic & Exciting MIDI: That GirlLive Musicians: I Wish

7. Findings Presence is increased: on location compared to in the studio; with performers playing together compared to overdubbing; and with performing musicians compared to computer-controlled synthesis. Presence is also increased through the use of: narrower panning, warmer EQ and smaller reverbs, as opposed to exaggerated panning, brighter EQ and larger reverbs. By either capturing music in or more accurately replicating real spaces, and by embracing the imperfections that make a musical performance human, one increases the possibility for one’s recording to make human-to-human contact.

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