AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 2 RT Music 1 |
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Hello all.
This first week guys you have a twin assignment.
A) Set of questions to tackle (priority)
B) classical Edit Practical
Resources
· The internet search engines. Google.com is my personal favourite.
· The local library, yes this can be a great resource, though ensure things are up to date.
· Your peers, do not be too proud to ask each other about subjects, some of you have good knowledge in particular areas and can help.
· AudioCourses website and in particular our forums. You can search the forums and glean lots of useful information. Also we have lots of articles.
Be Patient
- Do not expect the “answers” to come quickly, you may have to visit many resources in order to start putting together your responses. The worst approach you could take would be to copy and paste, not only does this ensure you are not learning anything (not constructing the knowledge), it is also illegal and academically wrong.
Prepare Before Posting
– Start putting your responses together in a word processor and only when correctly spell checked and read for errors, finished, should you post it up on the forum thread. However, please do feel free to post up questions to everyone if you really cannot find the info you need, perhaps someone else has!
Share Your Knowledge
– often students can become competitive (which is a good thing) yet do not share. Remember group learning is essential in distance education so please share with each other your resources. In fact by informing one of your peers you are in fact reinforcing your own knowledge, which cements your own understanding of a subject.
A) Questions
Reply to these questions in this thread!
1. Express the types of music typically played by an orchestra?
2. List the instruments that may be used in classical music?
3. Group some combinations of instruments that are used in classical music?
4. How are voices combined with instruments in classical music?
5. Where is classical music generally recorded?
6. Who might be involved in classical music recording?
7. What abilities and qualifications would you think a classical music recording producer need?
8. What abilities and qualifications would you think a classical music recording engineer need?
9. Discuss the working conditions of a classical music recording session.
10. Discuss the working conditions of a live classical music recording.
11. Discuss the way classical musicians work.
12. What is "The fixer" in classical music recording?
13. What types of equipment are used in classical recording?
14. Where is the equipment set up for a session or live recording?
15. How does the producer communicate with the conductor or performers in a session recording?
16. Does the producer communicate with the conductor or performers in a live recording?
17. What does the producer do during a recording session?
18. What does the assistant producer do in a recording session?
19. What does the producer do during a live recording?
20. How does the producer prepare for a recording session?
21. How does the recording engineer prepare for a recording session?
22. How do orchestral musicians prepare for a recording session?
23. What limitations are there for the producer in a live recording?
24. What limitations are there for the recording engineer in live recording?
25. Does a live recording of classical music require a PA system?
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
27. How are microphones set up for solo instruments?
28. How is a microphone set up for solo voice?
29. How are microphones set up for chamber ensembles?
30. How are microphones set up for orchestral music?
31. How are microphones set up for music for chorus and orchestra?
32. How are microphones set up for opera?
33. How are microphones set up for a live recording of opera?
34. Is classical music recording straight into stereo or onto multitrack?
35. If a multitrack recording is made of classical music, what format will be used?
36. Describe the conduct of a recording session.
37. Describe rehearse/record.
38. Describe the conduct of a live recording.
39. How much editing is involved in classical music recording?
40. How are decisions taken on the selection of takes and edit points?
41. Who performs classical music editing?
42. What equipment is commonly used for classical music editing?
43. What problems are commonly found in editing classical music?
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
45. Discuss some of the technical difficulties associated with editing classical music such as this?
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
B) Practical
Classical Edit
Scenario:
You are working as part of a team for a classical music FM radio station. There is a forth coming broadcast which is entitled "Classical Music - The Popular Classics". You have been asked to produce an advertisment that will be played in the lead up to the broadcast to entice more listeners to tune in.
The advert must conform to the following:
1. Must only use the music provided.
2. Must contain a voice over. (this is up to you to make exciting)
3. Finished format must be broadcast suitable 128K mp3 in stereo with mono compatibility
4. Duration bang on 29 secs and no shorter or longer.
5. Uploaded by Friday to your folder, as a ZIP file, in the correct week.
The object of this practical is to:
· Familiarise yourself with the operation of your dedicated digital audio editor
· Learn how to record and edit classical samples
· Learn how to combine voice with music
· Understand how to work within a rigid niche and target audience
· Be able to convert to differing formats such as mp3
Equipment:
Headphones
Wav file – classicaledit.zip
Your PC and software
Microphone
Coffee
Procedure:
· Download the sample (
CLICK HERE
) and unzip it (it’s large so may take a while)
· Open the sample in a digital audio editor
· Decide which segments to use and copy them into separate files, saving each one with a useful name.
· Start to edit together your pieces to create 29 seconds
· Record your voice section
· Name, trim clean up as necessary
· Apply any finishing touches as necessary, such as e.q. etc.
· Convert to 128k mp3
· Upload for your tutors to check
Hints:
If you do not have a microphone you should ask one of your peers to kindly read and record for you a set or words you have written. They would be able to upload this for you that you could then use.
Listen to some FM classical radio stations for a day or so to get the idea of the feel of what is required.
Good luck!
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Mon Sep 13, 2004 3:01 am |
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Rico1210
Joined: 03 Aug 2004
Posts: 39
Location: Newcastle, UK |
| Classical Music Answers |
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Hi,
I've done my classical edit but i'm having problems uploading to the ftp, i can maybe send during todays live session.
Here are my answers to the questions. I got most of the answers from websites, although i did get some from the audiocourses forum.
I found the questions quite difficult as i have no knowledge of classical music, but it was interesting to find out. They took a lot more time than i expected.
1. Express the types of music typically played by an orchestra?
The typical types of music played by an orchestra would include classical, music for film and television, stage music and even modern music (rock, pop and dance)
2. List the instruments that may be used in classical music?
The instruments used in an orchestra are split into sections:
Strings: Bass, Cello, Viola, Violin
Brass: French Horn, Trombone, Trumpet, Tuba
Woodwinds: Bassoon, English Horn, Flute, Oboe, Piccolo, Saxophone
Percussion: Bass Drum, Cymbal, Snare Drum, Timpani, Triangle, Xylophone
I found this website very helpful for this question http://www.playmusic.org/stage.html
3. Group some combinations of instruments that are used in classical music?
A combination of instrument other than the above could be for example, a String Quartet(eg. 2 violins, a viola and a cello). This would consist of 4 string instruments all playing a different piece of music at the same time. A soloist (vocal or instrumental) with a piano accompaniment is another combination. An orchestra as above is another combination.
4. How are voices combined with instruments in classical music?
Voice is combined with instruments in the form of opera singers. Examples of different ranges: Soprano, Mezzo-soprano, Alto(contralto), Countertenor, Tenor, Baritone, Bass, Castrato
This website goes into great detail of all musical instruments, including vocal ranges. http://www.fact-index.com/l/li/list_of_musical_instruments.html
5. Where is classical music generally recorded?
Live classical music is generally recorded in Concert Halls due to the amount of space needed for instruments and the acoustics needed. A church would also be a suitable venue. Although classical music can also be recorded in a studio environment.
6. Who might be involved in classical music recording?
An Orchestra, conductor, producer, assistant producer, recording engineer
7. What abilities and qualifications would you think a classical music recording producer need?
The producer will be in charge of all aspects of the recording. They would need a recognised qualification in classical music production, an extensive musical knowledge and the ability to read a score, plus a very good ear for acoustics.
8. What abilities and qualifications would you think a classical music-recording engineer need?
A classical recording engineer would require a qualification in sound recording, maybe specialising in classical music. They would require skills in microphone placement and recording equipment.
9. Discuss the working conditions of a classical music recording session.
Classical music is generally recorded in an acoustic building ie. Concert Hall, Theatre, School or even a Town Hall. The venue will be setup much like a studio, with a seperate control room away from the main recording area. Sections will be recorded seperately then mixed together later.
10. Discuss the working conditions of a live classical music recording.
A live classical music recording session would take place in a concert hall or similarly acoustic building. There would be several rehearsals to perfect microphone positions and sound levels as there would only be one full live performance.
11. Discuss the way classical musicians work.
Classical musicians in the UK are members of the Musicians Union therefore strict guidelines have to be followed. Sessions 2 or 3 hours. A 3 hour session can be extended by up to half an hour with the consent of the musicians. Sessions start and end at the exact time stated whether this be half way through a take. There must be at least 1 mid-session break, and there are limits on when this break must be taken.
12. What is "The fixer" in classical music recording?
The fixer is an employment agent for the musicians.
13. What types of equipment are used in classical recording?
Microphones, mixing console, monitor speakers, digital recorder or multitrack recorder
14. Where is the equipment set up for a session or live recording?
Microphones are positioned in the optimal position for recording. Recording equipment and mixing desk are set up in a separate room from the recording area. Can sometimes be an outside broadcast vehicle for live performances.
15. How does the producer communicate with the conductor or performers in a session recording?
The producer would communicate with the conductor or performers via an intercom system or 2 way radio equipment of some kind..
16. Does the producer communicate with the conductor or performers in a live recording?
The producer may communicate with the conductor during a live performance, but not with the musicians.
17. What does the producer do during a recording session?
During a recording session, the producer liases with the sound engineer and the conductor on the quality of the performance, and the quality of sound. They would also listen for any performance errors and make sure all the music had been recorded.
18. What does the assistant producer do in a recording session?
An assistant producer would log all takes with a number and which section has been recorded. They would also add the start/finish points and comment on the quality of the take.
19. What does the producer do during a live recording?
During a live recording the producer would monitor the performance and communicate with the conductor if necessary.
20. How does the producer prepare for a recording session?
The producer will select a suitable location for the recording and may even have an involvement in selection of musicians. They would then plan the recording with the engineer and the conductor. Which sections would be recorded in what order and musician placement.
21. How does the recording engineer prepare for a recording session?
The recording engineer would set out and check all microphone placements, set the recording levels and mix the signals from the microphones into stereo.
22. How do orchestral musicians prepare for a recording session?
Before a recording session orchestral musicians would familiarise themselves with the music to be recorded. They may also rehearse a bit, but not too much as they have a few hours of performance ahead of them.
23. What limitations are there for the producer in a live recording?
There is only one take in a live recording, therefore everything must be set up correctly beforehand as there is no going back to change any detail. Only minor changes can be made via the conductor.
24. What limitations are there for the recording engineer in live recording?
As above, there is only one take in a live recording session, therefore all equipment must be set up correctly beforehand.
25. Does a live recording of classical music require a PA system?
No. Classical music does not require any kind of amplification.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
If a live recording is also being recorded for video or TV broadcast, a digital reverb unit would be used to give the impression of the acoustics of the concert hall. The audience ambience would also need to be recorded.
27. How are microphones set up for solo instruments?
For solo instruments, a microphone would be set up in front of the musician.
28. How is a microphone set up for solo voice?
For solo voice, a microphone would be set up in front of the singer.
29. How are microphones set up for chamber ensembles?
For chamber ensembles, 2 microphones would be set up to the front of the musicians
30. How are microphones set up for orchestral music?
For orchestral music, several microphones would be placed around the room to pick up different areas of the orchestra. Middle and Side technique.
31. How are microphones set up for music for chorus and orchestra?
Microphone placement for chorus and orchestra would be much the same as for orchestral, with the addition of microphones for the chorus section.
32. How are microphones set up for opera?
Microphone placement for opera would be much the same as for orchestral, with the addition of microphones for the opera singers.
33. How are microphones set up for a live recording of opera?
Microphone placement for live opera would be much the same as for opera, although hidden wireless microphones would be used for the opera singers.
34. Is classical music recording straight into stereo or onto multitrack?
Classical music is generally recorded straight into stereo.
35. If a multitrack recording is made of classical music, what format will be used?
The highest quality format should be used for classical recording. 24-bit resolution, 96khz sampling rate.
36. Describe the conduct of a recording session.
An engineer would set up the equipment for the session. The musicians
would rehearse which could also act as a sound check. The session would be split into sections to be recorded separately.
37. Describe rehearse/record.
Rehearse/record procedure is used when a particular piece of music is unfamiliar to the musicians. Sections are rehearsed then recorded one by one until all have been recorded.
38. Describe the conduct of a live recording.
All equipment should be set up correctly and checked before a live recording. The music should be rehearsed by the musicians so they are familiar with it. When the audience arrive there is no going back.
39. How much editing is involved in classical music recording?
There is a great deal of editing in classical music. On average, an edit every 30 seconds.
40. How are decisions taken on the selection of takes and edit points?
The recording producer will make decisions on which takes are used and the edit points of these.
41. Who performs classical music editing?
Classical music editing would be performed by a specialist editor.
42. What equipment is commonly used for classical music editing?
Editing software eg. Soundforge, Wavelab is used in editing classical music.
43. What problems are commonly found in editing classical music?
The following are problems or limitations experienced in classical music editing:
It is not possible to edit between takes that are of a different tempi
It is not always possible to edit between takes where the tuning is different
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
Yes. Effects such as compression are used to control dynamic range of opera singers
45. Discuss some of the technical difficulties associated with editing classical music such as this?
Care must be taken when cutting reverb tails, as this could create a problem with reverb increasing or decreasing.
It is not possible to cut through the decay portion of piano notes
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
A digital reverb unit could be used in broadcasting to improve the sound of an acoustically poor venue. It also makes set up easier and achieves the required results more easily.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recording session.
An assistant producer would log all takes with a number and which section has been recorded. They would also add the start/finish points and comment on the quality of the take.
A producer would make sure all takes had been recorded.
48. Classical music recording venues often differ from say pop recording venues. Briefly discuss some of the differences.
Because of the acoustics needed for classical recording, the venue would tend to be larger than that of a pop recording venue. This is also to accommodate for the amount of instruments used in classical recording.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
Often the pedals used on a harp could be louder than the strings themselves, this could cause problems.
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
Yes a compressor may be used to control the dynamic ranges of opera singers. A compressor may also be used in classical music recording to address the balance between the volume levels of instruments. |
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Sat Sep 18, 2004 7:23 am |
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aik
Joined: 03 Jun 2004
Posts: 10
Location: Glasgow |
| answers to questions of classical recording |
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Hi
Here are my answers to the questions.
I enjoyed reading and finding answers although I would wish to be able to spend more time to get deeper.
I could write a wee essay to every question and I’m not quite sure about the balance of answering straight and clean and to add comments and opinions.
Anyway I’ve got an idea of what is waiting us.
Angelica
1. Express the types of music typically played by an orchestra
The typical music played by an orchestra is Symphonies, Solo concertos, Opera, Ballet, Musical, Oratorios which are performed in public.
Not very many film soundtracks are made without the use of an orchestra.
2. List the instruments that may be used in classical music?
Strings: Violin, viola, cello, contrabass, harp
Woodwinds: flute – piccolo, oboe – English horn, clarinet – bass clarinet, bassoon – contrabassoon
Brass: trumpet, french horn, trombone – soprano-, alto-, baritone-, tuba,
Percussion: timpani, cymbals, bass drum, triangle, marimba, vibraphone, snare drum
The piano is usually a solo instrument.
Occasionally you will find instruments like organ, guitar, saxophone and early instruments like lute, viola da gamba, cembalo
3. Group some combinations of instruments that are used in classical music?
Combinations of different instruments are typically found for chamber music like string quartets – 1. violin, 2. violin, viola, cello, trios with all kinds of combinations e.g. violin, cello, piano. Typically you would find combinations of strings and woodwinds and a piano.
4. How are voices combined with instruments in classical music?
Voices in their different ranges – soprano, mezzo-soprano, alto, tenor, baritone, bass - are used as instruments. You wound them solo in arias, “lied” and as choir for opera and oratorio.
5. Where is classical music generally recorded?
Classical music is very rarely recorded in studios due to space. Typically it would be recorded “on location”, best in concert halls, which are acoustically designed for this type of music and the natural environment for performing classical music.
6. Who might be involved in classical music recording?
The performers, the conductor - if an orchestra, a producer, an assistant producer, an engineer and a few technicians for the get in and set up.
7. What abilities and qualifications would you think a classical music recording producer need?
As the link between the performers, the technicians and the producing company the classical music recording producer needs to have a deep understanding of classical music and acoustic as well as a talent for communication and organisation.
8. What abilities and qualifications would you think a classical music recording engineer need?
The engineer for classical music should have a good understanding of classical music and acoustic as well. He needs a good knowledge of recording and the technical equipment required.
9. Discuss the working conditions of a classical music recording session.
In a classical music recording session the music will not necessarily be recorded in the order of the score. There is room for changes, mistakes and perfection. You don’t need to take audiences into consideration when placing the orchestra and the microphones. The producer and the conductor can communicate. So even though well prepared and scheduled this is the more “relaxing” type of classical music performing
10. Discuss the working conditions of a live classical music recording.
In a live classical music recording you have one shot and an unknown factor in the audience as they can change the acoustic quite remarkably. The visual aspect of the performance needs to be taken into consideration, which affects the placement of orchestra and equipment. The producer and the conductor have no contact at all during performance.
11. Discuss the way classical musicians work.
Classical musicians as members of a union are bound to strict conditions: sessions start and end at precise times. The session times can only last two or three hours and there has to be a mid session break. Only 22 minutes of each session can be used in the final product.
12. What is "The fixer" in classical music recording?
The fixer is responsible for the orchestra. He/she makes sure the orchestra contains the right amount of musicians and informs the orchestra about the sessions.
13. What types of equipment are used in classical recording?
Microphones, some kind of digital recorder. mixing desk and monitors.
14. Where is the equipment set up for a session or live recording?
Apart from the microphones obviously, the equipment is set up in a temporary control room, which has to be acoustically separated from the performing space.
15. How does the producer communicate with the conductor or performers in a session recording?
Via intercom
16. Does the producer communicate with the conductor or performers in a live recording?
No.
17. What does the producer do during a recording session?
The producer is directing the recording session. He/she would be in the contol room, listening, making sure the performance sounds as required, picking up mistakes in order to rerecord a take. He/she makes sure all music is recorded at the end and has a general overview over the recording session.
18. What does the assistant producer do in a recording session?
The assistant producer makes a record of all takes taken with notes about the quality and where to find a take on the tape.
19. What does the producer do during a live recording?
Pretty much the same as in the recording session unless he/she can’t interfere during the performance.
20. How does the producer prepare for a recording session?
The producer finds the location where to record and the performers. He/she would in cooperation with the conductor make a schedule of the order in which the music will be recorded and together with the engineer decide about the placement of the musicians.
21. How does the recording engineer prepare for a recording session?
The engineer would find a appropriate space to set up a temporary control room, set up the microphones as agreed with the producer and make a good sound check before the start of the first session.
22. How do orchestral musicians prepare for a recording session?
The orchestra would have rehearsed the music they will record.
23. What limitations are there for the producer in a live recording?
The producer has no influence on the sound and the quality of the performance whatsoever during life recording.
24. What limitations are there for the recording engineer in live recording?
The engineer can’t change any settings of microphones or levels during life recording.
25. Does a live recording of classical music require a PA system?
No, only monitors.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
For broadcasting there would be additional equipment required such as a reverb unit to make up for the “lost acoustic”. You might be even more limited for the placement of microphones as the visual aspect of the performance becomes even more important. In general the editing has to be made “life”.
27. How are microphones set up for solo instruments?
Spot mics, pointed at the instrument where the sound emerges.
28. How is a microphone set up for solo voice?
Spot mic in front of the singer.
29. How are microphones set up for chamber ensembles?
As chamber ensembles are internal balanced 3 omnidirectional microphones in front of the ensemble about 9 feet high would be enough. You have to make sure the musicians are separated more then they would usually be to ensure the stereo positioning.
30. How are microphones set up for orchestral music?
An orchestra is internal balanced due to the placement of the different groups of instruments, especially when they are placed on different levels. 3 omnidirectional microphones behind the conductor about 15 feet high and 2 omnidirectional mics further back in the room to pick up the ambience should be a good start. Spot mics for eventual soloists and instruments, which in themselves have a low volume, like harp or early instruments. Probably spot mics for each part of the orchestra, but that shouldn’t be absolutely nessecary.
31. How are microphones set up for music for chorus and orchestra?
The choir will usually be placed in different levels behind the orchestra. The microphones are set like for the orchestra and in addition 3 omnidirectional microphones about 15/18 feet high between the choir and the orchestra
32. How are microphones set up for opera?
As above for the orchestra and the choir. For the singers would individual spot mics in front of them in eye hight.
33. How are microphones set up for a live recording of opera?
3 omnidirectional microphones in a line at the surface front of stage for the visual aspect in a life recording. The orchestra as above.
34. Is classical music recording straight into stereo or onto multitrack?
Classical music is usually mixed life and recorded straight into stereo.
35. If a multitrack recording is made of classical music, what format will be used?
24bit/96kHz
36. Describe the conduct of a recording session.
The musicians tune their instruments and then starts the recording of the takes in the scheduled order, with possible rerecordings of certain takes. The sessions will take 2 or 3 hours each with a mid session break and start and end at precise times.
37. Describe rehearse/record.
Rehearse/record occurs when the musicians are not familiar with the music to be recorded. It means that the recording starts at the beginning of the music. The musicians would rehearse a take and it would be recorded afterwards til all music is recorded.
38. Describe the conduct of a live recording.
The life recording follows the rules of a concert with the recording team as an invisible part of the event recording all in once, apart from breaks.
39. How much editing is involved in classical music recording?
This is a matter of opinion. Classical music is as every life performance a living event, which never occurs twice the same way. As such to much editing would take away the natural flow of a performance. There are not many obvious edit points in classical music as instruments overlap each other so it is quite difficult to make edits non audible. The tempo and the tune is changing and even if it is ever so slightly it makes it very difficult to edit. So generally I would say as much editing as necessary and as less as possible.
40. How are decisions taken on the selection of takes and edit points?
As discussed before there are not many obvious edit points in classical music. The producer and the conductor would typically discuss the selection of takes and edit points after studying the score.
41. Who performs classical music editing?
A specialized editor.
42. What equipment is commonly used for classical music editing?
Editing software, mixer, the recording unit, effect units, monitor speakers and headphones.
43. What problems are commonly found in editing classical music?
The difficulty to find obvious edit points, the variation of tempo and tune between takes. You cannot cut through a reverb.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
Processors and effects are not commonly used in classical recording, at least not during recording sessions. In the editing process there might be used a compressor to adjust high pitched voices and instruments. A reverb is only used if it is necessary to correct the room ambience.
45. Discuss some of the technical difficulties associated with editing classical music such as this?
The difficulty to find obvious edit points, the variation of tempo and tune between takes. You cannot cut through a reverb.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
Especially for life recording and broadcasting the presence of the audience can make a remarkable difference to the acoustic. That’s you would use a digital reverb unit to adjust that.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
There are quite a few administrative functions the producer or assistant producer has to do. He/she needs to find and book a suitable venue and the performers for the recording. He/she has to decide, in cooperation with the conductor, which score is to be used and make it available. He/she has to make the schedule for the recording sessions, in cooperation with the conductor. He/she has to make a record of all the takes recorded and make notes about the quality of sound and the placement on the tape.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
Classical music is usually recorded on location as an orchestra typically requires much more space than a studio can provide. The control room is normally a temporary one.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
The harp has in itself a low volume so the microphone needs to come quite close. But when you are close you will hear the noise of the pedals to much. So it is to find the right balance that makes it tricky.
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
A compressor is very rarely used in classical recording, sometimes to adjust high pitched voices or instruments. |
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Sat Sep 18, 2004 11:30 am |
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aik
Joined: 03 Jun 2004
Posts: 10
Location: Glasgow |
| revised version of classicaledit |
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Hi Chris
I just uploaded a revised version of my classical edit in my folder aikeditclassicaledit.zip
Would be nice with some feedback
Cheers Angelica |
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Sun Sep 19, 2004 2:17 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Updates |
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OK, I found two extra versions in your folder, both of which were zipped, (always handy):
aikclassicaledit.zip
aikeditclassicaledit.zip
I do not recall a .zip version being there previously.
I gave your tunes a few run throughs and found that the file "aikeditclassicaledit.zip" contained a much better version, (better meaning more technically correct). It seems you have manipulated the plosives (naturally, and through digital editing) to bring about a much improved version. This newer updated version would be far more suitable for broadcasting, whatever the medium.
Well done and a pat on the back for investing further time on this practical.
Chris
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Sun Sep 19, 2004 4:40 pm |
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seanm
Joined: 06 Sep 2004
Posts: 20
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hello
I put my answers to task 1 in my folder on the ftp (something I do understand) along with my classical edit .
I have now sorted out my access to the live workshop,but the link on the homepage still baffles me.
Here are my answers to rt task1
1. Express the types of music typically played by an orchestra?
It is often generically referred to as classical music, but in fact covers a number of types and periods. From “classical” orchestral works of Mozart, “Romantics” such as Wagner and much “modern” twentieth century works from Stravinsky to Gavin Bryers.
2. List the instruments that may be used in classical music?
Violin, Violas, Cellos, Double Bass, Oboes, Flutes, Clarinets, French Horns, Trumpets, kettledrums, Timpani’s.
3. Group some combinations of instruments that are used in classical music?
Strings (e.g. violins, Violas, Cellos, Basses) Woodwind (e.g. Oboe Clarinet, Flute), Brass (e.g. French horn, Euphonium, Trumpet), Percussion (e.g. Snare Drum, Kettle Drum, Timpani)
4. How are voices combined with instruments in classical music?
Through the addition of a Chorus and/or soloists.
5. Where is classical music generally recorded?
For studio sessions
In the most appropriate acoustic spaces for the piece concerned as many spaces not intended for this purpose have proved ideal. As there are few purpose built studios in existence and many concert halls when empty are unsuitable.
Some “live” recordings obviously are made in concert halls.
In Hollywood large sound stages are often used.
6. Who might be involved in classical music recording?
Conductor, Musicians, Producer, Assistance producer, Sound Engineer, Tape Op or equivalent, if a contemporary piece and the Composer.
7. What abilities and qualifications would you think a classical music recording producer need?
The ability to read the score and a thorough understanding of it.
As much orchestral recording experience as possible.
Good listening and analytical skills.
A good working relationship with the composer (if alive) and/or conductor.
Some shared goal with the above for the piece.
A good technical understanding of Microphones and their characteristics
An understanding of Microphone placement technique and it’s effect on the recording, particularly in the recording of orchestras.
A thorough knowledge of mixing and editing.
An understanding of and passion for the piece.
Good communication skills.
A technical understanding of the role of the conductor.
A good technical understanding of the role of the assistant and the sound engineer.
Patience
8. What abilities and qualifications would you think a classical music recording engineer need?
The ability to read the score and a thorough understanding of it.
As much orchestral recording experience as possible.
A good technical understanding of Microphones and their characteristics
An understanding of Microphone placement technique and it’s effect on the recording, particularly in the recording of orchestras.
A thorough knowledge of mixing and editing.
A thorough knowledge of all the equipment to be used.
9. Discuss the working conditions of a classical music recording session.
The Engineer after consultation with the producer will have ensured all equipment to be used is in working order. The studio space will have been prepared regarding the layout of the orchestra, including initial positions for chosen microphones and their approximate placement. The conductor and musicians will take their places and prepare themselves (tuning warming up and discussing the piece with the conductor and composer (if you’re lucky). During this time the producer and engineer will make adjustments to Mic placement and possibly even numbers and types to be used. The producer may ask the conductor to lead the orchestra through potentially troublesome parts of the piece whilst the producer and engineer make further adjustments to equipment and discuss any technical issues. During this time the producer might ask the orchestra to make adjustments to their respective positions if it is felt this might help. The recording can then begin. This does not mean that the piece will be recorded from start to finish, it will be recorded in an order agreed by the producer and conductor. There will probably numerous starts and stops whilst passages are “captured” to the satisfaction of the producer and conductor. Union rules will be obeyed.
10. Discuss the working conditions of a live classical music recording.
Unlike above there is only one opportunity to get this as well recorded as possible. Many more technical decisions re microphones used both numbers and positions will already have been taken. There will be no opportunity to move the players around and considerations other than recording will have to be taken into account. For instance Microphone placement and type might be affected by the position and size of the audience or the presence of film or TV broadcast cameras. The piece will be recorded from start to finish in one take.
11. Discuss the way classical musicians work.
Classical musicians play from a score directed by a conductor. They have a strong union which clearly states their fees and working hours.
12. What is "The fixer" in classical music recording?
Artificial reverberation.
13. What types of equipment are used in classical recording?
Very good quality Microphones of many kinds, particularly stereo pairs (cardiod and/or figure of eight) mono, omnidirectional and occasionally contact. Mixing Desk (Analogue or Digital), Multitrack tape or Hard Disk Recorders, studio monitors. Very good reverbs.
14. Where is the equipment set up for a session or live recording?
Microphones usually suspended above the players. Mixing Desk and recording equipment in a control room or separate booth. Sometimes in a specially modified truck.
15. How does the producer communicate with the conductor or performers in a session recording?
Through a mic usually on the desk patched through to speakers in the studio
16. Does the producer communicate with the conductor or performers in a live recording?
No
17. What does the producer do during a recording session?
Ensures the performances are what he/she requires. Manages everyone, Tries to keep everyone happy and productive/creative. Listens to everything carefully including the suggestions of others. Makes decisions including when the suggestions should stop.
18. What does the assistant producer do in a recording session?
Makes sure everyone is where they should be when they should be. Watches the clock on behalf of the producer. Whatever the producer asks or tells them to do. Deals with anything likely to hamper the producer inc answering the phone.
19. What does the producer do during a live recording?
Carefully monitors the mix, makes any adjustments they think necessary to levels etc.
20. How does the producer prepare for a recording session?
Discuss the objective of the session with the conductor and sometimes the composer.
Discuss the conduct of the session with the above and the engineer.
If necessary familiarise themselves with the piece to be recorded.
Preferably go to see the orchestra play the piece to be recorded.
Attend rehearsals of the piece by the orchestra and conductor and/or composer.
In conjunction with the conductor/composer and possibly the engineer choose the venue for the recording.
Choose the engineer for the session.
Discuss financial aspects and requirements with a the recording company.
21. How does the recording engineer prepare for a recording session?
Discuss the conduct of the session with the producer.
If necessary familiarise themselves with the piece to be recorded.
Preferably go to see the orchestra play the piece to be recorded.
Attend rehearsals of the piece by the orchestra and conductor and/or composer.
Discuss the technical aspects of the recording and their requirements with the producer.
Prepare the recording venue.
Ensure that all equipment and spares are in good working order and meet the requirements for the session.
22. How do orchestral musicians prepare for a recording session?
Familiarise themselves with the piece and their part.
Rehearse their part alone and with the orchestra.
Attend the session as well prepared as possible.
23. What limitations are there for the producer in a live recording?
There are no re-takes.
The placement, type and number of microphones to be used may be compromised by the venue, the presence of an audience, the presence of film or tv broadcast equipment and personnel.
The wishes of any broadcast or film director.
Any alterations made to the mix will be “on the fly” and therefore minimal.
The engineer might not be the producers choice.
24. What limitations are there for the recording engineer in live recording?
The placement, type and number of microphones to be used may be compromised by the venue, the presence of an audience, the presence of film or tv broadcast equipment and personnel.
The wishes of any broadcast or film director.
Any alterations made to the mix will be “on the fly” and therefore minimal.
Some of the equipment might not be familiar.
25 Does a live recording of classical music require a PA system?
No
26 Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
The large variety of video formats can cause problems, including differing bandwidths, sampling frequencies and sychronisation difficulties.
TV broadcast will inevitably cause some degradation of sound due to different bandwidths. A definite loss of bottom end and the addition of compression to the signal causing a loss of dynamic range.
27 How are microphones set up for solo instruments?
Within an orchestral setting Mono spot microphones close to the soloist.
28 How is a microphone set up for solo voice?
Within an orchestral setting Mono spot microphones close to the soloist.
29 How are microphones set up for chamber ensembles?
Chamber music can cover a number of different combinations of instruments. Which might require a simple stereo pair (coincident) or a stereo pair with some mono spots. The addition of a grand piano to a chamber ensemble can cause particular problems relating to its volume. Care should be taken when deciding on microphone placement and numbers to ensure that balance and perspective are accurately reflected. It is not ideal to move players around since with no Conductor lines of visual and aural communication between players are critical to a standard of performance, which is after all the objective.
30 How are microphones set up for orchestral music?
For many years it was thought that a single coincident pair should be used located at 3-7m facing the orchestra. Developed from this came a hybrid technique with a single coincident pair augmented by one or more “spot" microphones designed to enhance soloists or important sections of the orchestra. However the most common technique employed today is what some refer to as a mullet microphone technique. In this method no pair or cluster is used with mono microphones placed 2-3m above the various sections of the orchestra with coverage depending on the layout of the orchestra. This is most effective when the producer and engineer have full control over seating arrangements. Sometimes spaced pairs or trios are added to add some spatial balance.
31. How are microphones set up for music for chorus and orchestra?
See above in the hybrid or multi microphone techniques the chorus would be mic’d as described above.
32. How are microphones set up for opera?
The orchestra and chorus as described above the soloists with radio controlled contacts. Occasionally soloists might be picked up by stage mics.
33. How are microphones set up for a live recording of opera?
The orchestra and chorus as described above the soloists with radio controlled contacts.
34. Is classical music recording straight into stereo or onto multitrack?
Multitrack
35. If a multitrack recording is made of classical music, what format will be used?
Hard Disk, ADAT or Tape
36. Describe the conduct of a recording session.
I’m sure I already have.
37. Describe rehearse/record.
I’m sure I already have.
38. Describe the conduct of a live recording.
I’m sure I already have.
39. How much editing is involved in classical music recording?
A great deal possibly as much as one edit for every minute of music played.
40. How are decisions taken on the selection of takes and edit points?
Such decisions are based on the quality of the performance, their congruence with the overall performance and their suitability for editing.
41. Who performs classical music editing?
Sound Engineer
42. What equipment is commonly used for classical music editing?
Software based audio editor.
43. What problems are commonly found in editing classical music?
Microphone spill, Reverb Tails, differences in tempo between takes, differences in interpretation between takes.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
Rarely
45. Discuss some of the technical difficulties associated with editing classical music such as this?
I’m sure I already have.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
To artificially re-create the spatial characteristics and balance of an orchestra.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recording session.
I’m sure I already have.
48. Classical music recording venues often differ from say pop recording venues. Briefly discuss some of the differences.
Classical recording venues are rarely purpose built. Pop ones usually are.
Classical recording venues are usually chosen for their acoustic properties. Pop ones often for their absence of such properties.
Classical recording venues need to accommodate a large number of players simultaneously. Pop venues rarely do.
Pop venues are often chosen for their particular equipment.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
Harps have a wide dynamic range and compass of pitch.
Whilst Harps have a sound board it is thought that the fuller tone of the instrument doesn’t appear until about 2m away. All of which contribute to some difficulties in capturing the natural sound particularly in combination with other instruments.
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
No. The wide tonal and dynamic range of orchestral music and the need to capture this mitigates against the use of compressors. |
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Sun Sep 19, 2004 5:03 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Chill Winston |
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This is a real quick reply (I'll look at the answers in great detail this week), however, I wanted to post a message to the rest of the cohort:
quote:
I put my answers to task 1 in my folder on the ftp (something I do understand) along with my classical edit . I have now sorted out my access to the live workshop,but the link on the homepage still baffles me.
If anyone can help sean, please do post something in the chill out zone.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Sun Sep 19, 2004 5:30 pm |
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