Reflection on Sound Mixing Project (Gibbs’ Reflective Cycle)
DescriptionIn this sound mixing project, I worked with three distinct yet conceptually interconnected audio elements: the white noise produced by the flame of a sleep-aid candle, my spoken reading of Li Bai’s classical poem Qiang Jin Jiu (Bring in the Wine), and a self-performed excerpt from the traditional Chinese guqin piece Plum Blossom in Three Movements (Meihua Sannong). These elements were layered to create an atmosphere that balances ambience, narrative, and emotional expression. The candle flame provided a continuous sonic base, while the spoken poem functioned as the semantic centre and the guqin music offered a contrasting emotional texture.
FeelingsAt the beginning of the project, I felt uncertain about whether such minimal and restrained sound materials could sustain listener engagement. I was particularly concerned that the lack of dramatic variation might result in a composition that felt static. However, as the mixing progressed, I began to feel more confident and attentive to subtle changes in texture, timing, and emotional resonance. This shift encouraged a more patient and reflective listening approach.
EvaluationOne positive aspect of the project was the successful creation of an intimate listening space. The candle’s white noise softened the overall soundscape and supported focused listening. A limitation, however, was the challenge of maintaining balance among the three elements without allowing one to dominate. Achieving clarity without hierarchy required repeated adjustments and critical listening.
AnalysisThe candle flame operates as an inward-facing atmospheric layer, reducing temporal awareness and auditory distraction. Against this backdrop, the spoken poem adopts a confessional quality rather than a performative one, reframing Qiang Jin Jiu as a meditation on impermanence rather than excess. The guqin piece introduces restraint and endurance, counterbalancing the poem’s expressive language. Through the mixing process, I recognised that silence, pacing, and subtle alignment are compositional tools equal in importance to sound itself.
ConclusionThis project deepened my understanding of sound mixing as an expressive and conceptual practice, rather than a purely technical task.
Action PlanIn future projects, I plan to further explore minimal sound structures and develop more critical listening strategies to refine emotional nuance through balance, timing, and absence.
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