Timbre Preferences in the Context of Mixing Music

Abstract

Mixing music is a highly complex task. This is exacerbated by the fact that timbre perception is still poorly understood. As a result, few studies have been able to pinpoint listeners’ preferences in terms of timbre. In order to investigate timbre preference in a music production context, we let participants mix multiple individual parts of musical pieces (bassline, harmony, and arpeggio parts, all sounded with a synthesizer) by adjusting four specific timbral attributes of the synthesizer (lowpass, sawtooth/square wave oscillation blend, distortion, and inharmonicity). After participants mixed all parts of a musical piece, they were asked to rate multiple mixes of the same musical piece. Listeners showed preferences for their own mixes over random, fixed sawtooth, or expert mixes. However, participants were unable to identify their own mixes. Despite not being able to accurately identify their own mixes, participants consistently preferred the mix they thought to be their own, regardless of whether or not this mix was indeed their own. Correlations and cluster analysis of the participants’ mixing settings show most participants behaving independently in their mixing approaches and one moderate sized cluster of participants who are actually rather similar. In reference to the starting-settings, participants applied the biggest changes to the sound with the inharmonicity manipulation (measured in the perceptual distance) despite often mentioning that they do not find this manipulation particularly useful. The results show that listeners have a consistent, yet individual timbre preference and are able to reliably evoke changes in timbre towards their own preferences.

Keywords

• timbre
• music perception
• music preference
• pop music
• mixing