AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 2 RT Questions |
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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? Briefly discuss your answer.
_________________
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 Mar 14, 2005 6:14 am |
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JohnA
Joined: 20 Jan 2005
Posts: 28
Location: Mid Glamorgan, UK |
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Recording Techniques
Week 2
RT Questions
18 March 2005
(j.levin)
1. Express the types of music typically played by an orchestra?
An orchestra mainly play classical music which would be symphonies and film and soundtracks as well as orchestration in other genres of music (rock and pop).
2. List the instruments that may be used in classical music?
A list of these instruments would contain percussion (Timpany, Marimba, Xylophone, Bells, Snare Drum, Bass Drum, Cymbals and Gong. Brass section: Trumpet, French Horn, Trombone, Tuba. Strings section: Violins, Viola, Violonchello and Double Bass. Woodwind Section: Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contrabassoon.
3. Group some combinations of instruments that are used in classical music?
Strings, woodwind, brass and percussion sections are all groups of instrumentation played within classical music.
4. How are voices combined with instruments in classical music?
The choir is often used as an instrument and part of the whole piece of music.
5. Where is classical music generally recorded?
Classical music is generally either recorded on location (usually at a live performance) but rarely at a recording studio as studios are usually just not bit enough to do the job.
6. Who might be involved in classical music recording?
People who might be involved would be a Producer, Engineer (and assistants to these), the musicians and a conductor.
7. What abilities and qualifications would you think a classical music recording producer need?
A classical music producer would have to have a solid knowledge of classical music and the way it is recorded, how sound works and responds in the recording environment, and a very good understanding of recording techniques, microphone placement etc.
They would probably have qualifications in sound recording / production / engineering.
They should be able to tell if the correct notes are being played by the players.
8. What abilities and qualifications would you think a classical music recording engineer need?
They would need skills in microphone placement, as well as audio (especially digital) recording knowledge as this is the usual medium on which classical music is recorded. Qualifications would be Sound Recording Engineer. They should also be familiar with the way that classical music is recorded and the equipment used to record it.
9. Discuss the working conditions of a classical music recording session.
The conditions would quite relaxed if the recording was not a one take thing as is live recording. The atmosphere would be quite informal, not formal dress etc (unlike live recording).
10. Discuss the working conditions of a live classical music recording.
When a recording session is live (one take), the working conditions would be more tense (as you only get one shot to achieve your goal. This would include everyone, musicians, producer, engineer, conductor.
11. Discuss the way classical musicians work.
The musicians would start with a rehearsal period (here, the sound engineer gets a chance to sort the levels out etc). There will be a "rehearse-record" period. Music is rehearsed then recorded, rehearsed then recorded…
12. What is "The fixer" in classical music recording?
The fixer is the orchestra manager who would be at the recording session. The job of the fixer is to make sure that the rules of the agreement are followed.
13. What types of equipment are used in classical recording?
Usually a digital recording system with a mixing desk and quality microphones and monitor system. The microphones have to be the correct ones as there is such a wide variety of instruments in classical music. If an opera singer is part of the recording process, there would also be a compressor / limiter used.
14. Where is the equipment set up for a session or live recording?
Set up is in the quietest place possible and as far away from the actual microphones as possible, preferably a green room, dressing room or corridor.
15. How does the producer communicate with the conductor or performers in a session recording?
In a studio recording session, the producer would communicate with the conductor through an intercom system. The producer will communicate with the conductor through a PA system in a larger venue. They will be in the control room. In a live recording, the producer would communicate with the conductor with in ear monitoring.
16. Does the producer communicate with the conductor or performers in a live recording?
The producer will communicate only to the conductor.
17. What does the producer do during a recording session?
The producer ensures proper communication with the conductor to make sure the production is right. He checks that the overall sound, performance and sound quality have been achieved. They will make sure that all the correct parts have been recorded.
18. What does the assistant producer do in a recording session?
The assistant producers job is to supply the producer with all he needs. They will make a log of all the takes that are recorded (the producer will choose from these takes at the end of the recording session).
19. What does the producer do during a live recording?
There is not much that the producer can do in the live recording situation. All their work has been done beforehand.
20. How does the producer prepare for a recording session?
The producer makes sure that he is fully acquainted with the piece of music being recorded. They also consult with the conductor and the sound recording engineer as to the "running order" of the piece of music being recorded.
21. How does the recording engineer prepare for a recording session?
The recording engineer checks what the producer requires from a recording and makes sure that he has all the tools available to do the job. A knowledge of the instruments used would be and advantage as they could select the correct microphones for the job. He also has to talk with the producer to ensure that he knows where everyone is seated to place the microphones in the correct positions.
22. How do orchestral musicians prepare for a recording session?
Learn each piece of music they have to play (and be aware of the rest of the music being played).
23. What limitations are there for the producer in a live recording?
Everything has to be captured at once so the limitations are that there is just one take so even the main solo's have to be done in one go. They cannot communicate with any of the players as there is no PA system used.
24. What limitations are there for the recording engineer in live recording?
Again, because everything is done in one go, the recording engineer will use less tracks than they would in a studio (with overdub facilities).
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?
Background noise, traffic, air conditioning, audience noise, microphone placement all contribute difficulties in live television broadcasts.
27. How are microphones set up for solo instruments?
A coincident pair or spaced mics are suitable. If omnidirectional mics are used, mount them abaut 20cm apart facing the same direction. The source of the sound should be on axis. If the acoustics are difficult, directional mics should be used.
28. How is a microphone set up for solo voice?
In classical music, the singer would have a wireless microphone attached to their clothing and hidden from view.
29. How are microphones set up for chamber ensembles?
Ensembles are internally balanced so individual mics are not required. Place 3 omni-directional mics in front of the musicians about 3 meters high, ensuring that the artists are spaced out enough to give clear stereo imaging.
30. How are microphones set up for orchestral music?
Two flat condenser mics around 10 feet apart and roughly 14 feet above the floor. and 5 to 20 feet in front of the front-row of musicians. Adjust for specific sounds. Using a stereo mic adapter, hang or or place two flat cardioid condenser mics in a coincident or near-coincident arrangement. Place the pair about 14 feet above the floor, and 5 to 20 feet from the front-row musicians. Or try a stereo mic in this position. There is also a tried and tested method called the Decca Tree Technique. Three mics are placed behind the head of the conductor 12 to 15 feet from floor level and angled downwards at roughly 30 degrees. The mic in the centre is aimed at the middle of the orchestra with the left and right mics at 45 degree angles away from the centre. There is also a stereo pair of mics placed further back in the room to the right and left of the orchestra. Each group of instruments individual "spot" mics are used.
31. How are microphones set up for music for chorus and orchestra?
You could use omnidirectional mics for his main stereo pair, suspended from balcony or ceiling. Place the mics 20 feet in front of the stage, and approximately 16 or 17 feet in the air. Toe these in slightly to enhance both the stereo image and low frequency response. The mics are not, however, aimed directly at the orchestra. Although aiming the mics slightly above the orchestra and chorus reduces the high end. Aiming the mics in this way also helps reduce sibilance from the chorus.
32. How are microphones set up for opera?
Use two or three uni-directional boundary mics on the stage floor, in a line about 1 or 2 feet from the edge of the stage.
33. How are microphones set up for a live recording of opera?
Use two or three uni-directional boundary mics on the stage floor, in a line about 1 or 2 feet from the edge of the stage with the singer wearing a cordless mic.
34. Is classical music recording straight into stereo or onto multitrack?
Straight to stereo for the CD release and to mutlitrack for 5.1 surround sound mixing.
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.
Once all the equipment has been set up properly, the piece of music will be broken up into passages and played so that the levels can be ascertained. There will be a test take before the actual recording process. The recording process then starts and once finished, will be edited to select the best takes.
37. Describe rehearse/record.
The musical piece is first rehearsed then recorded, rehearsed and recorded. This continues until the piece is fully recorded.
38. Describe the conduct of a live recording.
As this is a live recording, everyone must be performing at their best (you only get one shot at this). A lot of rehearsal will preempt the recording session.
39. How much editing is involved in classical music recording?
There is a lot of constant editing in classical music recording as the performance has to be captured correctly.
40. How are decisions taken on the selection of takes and edit points?
The producer will have a log (a record of the recording made by the assistant producer) and will use this to guide them through each take. This is at the end of the recording session.
41. Who performs classical music editing?
There are specialists in the editing field of classical music and the recording is usually sent out to one of them.
42. What equipment is commonly used for classical music editing?
You would use a dedicated editor such as Soundforge or Wavelab, a good set of quality speakers, a mixing console and effects.
43. What problems are commonly found in editing classical music?
As there is no "Click track" used in the recording, the tempo will vary so it makes it very difficult to edit between takes. Also tuning problems makes this difficult. Also the decay of the reverb tails add to the editing problems.
precise cross-fades need to be made so that the edit is unnoticeable.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
There are not normally any effects used in the capturing of a classical music recording. The recording engineer will already be capturing the reverbs of the room and good microphone placement will capture the dynamics. Any effects that do need to be added will be added afterwards at the mastering or post production stage. The only dynamic effect that may be used during recording would be a compressor / limiter for an opera singer (they can get loud)!
45. Discuss some of the technical difficulties associated with editing classical music such as this?
As in 43, editing recorded classical music would entail cutting the natural reverbs in the room which would stand out in the edit. Again, if the tuning has been lost in any sections it would be difficult to edit from one piece to another.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
If the recording is live, the recording engineer will usually place the microphones closer to the instruments to cut down the sound from the audience. Doing this takes some of the natural reverb away from the recording so digital reverb is added to bring back a more natural feel.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
A producer would hire staff such as a recording engineer and also hire the venue making sure they have the right venue for the production they are working on.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
In classical music you have an orchestra so the venue has to be big enough to take them. Also, the acoustics are very important in classical music and so a large venue helps the sound in this respect.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
The key of the instrument is changed by the player with pedals. These can be noisy and so makes the job difficult for the sound engineer.
50. Would you think a compressor would be used in classical music recording? Briefly discuss your answer.
As previously discussed, a compressor may be used if recording an opera singer but also, if a piece of music has a very large dynamic range, with very loud sections, a compressor may be used sparingly. However, care should be taken not to destroy the dynamics of the overall recording.  |
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Fri Mar 18, 2005 5:42 pm |
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hoaxwagon
Joined: 28 Feb 2005
Posts: 27
Location: Boulder Creek, CA USA |
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hello this is hoaxwagon 8O
here are my answers for RT week 2
1. Express the types of music typically played by an orchestra?
There is more than one type of orchestra: Symphony orchestras are large and play any orchestral music; Chamber orchestras are much smaller and play chamber music; Ballet and Opera orchestras play for Ballet and Opera companies; Session orchestras are brought together to record film and television scores.
2. List the instruments that may be used in classical music?
violin, viola, violoncello, contrabass, flute, piccolo, oboe, english horn, bassoon, contra bassoon, clarinet, bass clarinet, trumpet, trombone, french horn, tuba, timpani, harp, percusssion encluding bass, military and snare drum, tamborine, gong, celesta, glockenspiel, tubular chime, castanet, zylophone
3. Group some combinations of instruments that are used in classical music?
string trio: violin, viola and cello; add a piano and you got a piano quartet. string quartet: same as a tri but with 2 violin; add a piano for a piano quintet. string quintet: 2 violin, 2 viola, 1 cello; or 2 violins, 1 viola, 2 cello ; or 2 violin, 1 viola, 1 cello, 1 bass.
R[1]
strings, brass, woodwinds, percussion
4. How are voices combined with instruments in classical music?
the voices are grouped by specific frequency ranges. bass, alto, tenor, saprano. the music is written with voices in mind to play a key roll in the melody line. (interacting with the music as if they were one of the intruments) Each voice section in classical music also tends to sing in rounds with the other voice sections therefor alot of the time having totally differing parts.
5. Where is classical music generally recorded?
in a large recording studio or concert hall. Somewhere large enough to hold the orchestra. A place where hter is a control room and has almost no ambient noise
6. Who might be involved in classical music recording?
musicians, sound engineer and apprentice, conductor, producer, composser, a muse or two (joking),
7. What abilities and qualifications would you think a classical music recording producer need?
designates a person responsible for completing a master recording so that it is fit for release. In the past, record producers had the title of A&R men, for Artists and Repertory, which gives a clearer picture of their function: controlling the artists and choosing the material.
In the first part of the 20th century, the record producer's role resembled that of a film producer, in that the record producer supervised recording sessions, paid technicians, musicians and arrangers, and sometimes chose material for the artist. By the 1960s, record producers took a more direct role in the musical process, including arranging, engineering the recording, and even writing the material. Through it all, record producers have had a strong influence, not only on individual careers, but on the course of popular music.
8. What abilities and qualifications would you think a classical music recording engineer need?
An audio engineer is someone with experience and training in the production and manipulation of sound through mechanical means. As a professional title, this person is sometimes designated as a sound engineer instead. A person with one of these titles is commonly listed in the credits of many commercial music recordings (also in other productions that include sound, such as movies).
The Recording Engineer is responsible for the professional recording of all concerts, recitals, as well as some dress rehearsals and master classes. Load-in, loud-outs, and general maintenance of all sound, recording, video, and electronic equipment. He or she also prepares audio masters and copies for broadcast, archival use, and study purposes, in addition to duplication of recordings for artists and students. Assist Production Manager when needed.
9. Discuss the working conditions of a classical music recording session.
Each different section of the orchestra would set up at different times and/or different rooms. Each section playing their part from a sound proof room. the recording engineer from behind the glass,in the control room, has visual and audible contact with the musicians and conductor. The music is picked up by microphones in the room and sent to the mixing desk in the control room. The recording engineer records the sounds and then probally adds reverb to the final product.
10. Discuss the working conditions of a live classical music recording.
R[2] the band sets up as usual. The recording engineer places microphones in front of the orchestra and records from a control room.
11. Discuss the way classical musicians work.
Classical musicians perform to a variety of audiences and at a range of events. They may play one or more musical instruments to a high standard. They read sheet music and are very well trained and skilled.
They may be part of an orchestra, musical ensemble or opera. Successful classical musicians perform as soloists within an orchestra or in solo performances.
Some classical musicians work in the armed forces, within the Corps of Army Music, and may perform at concerts, military parades and national events.
As well as performing live, classical musicians might work in television, film, video and radio, performing in operas, concerts or shows. They also record music for albums or session work. Successful classical musicians compose their own musical scores.
Hours and Environment
Classical musicians often work long and irregular hours, commonly working evenings and weekends. Time is often spent learning music, in rehearsals, or looking for new work. Recording in studios frequently takes many hours and can run until late at night.
They perform in a variety of places, which vary in size and facilities. These range from arts centres, theatres, and music venues, to hotels and restaurants. Rehearsal rooms are often small and draughty. Recording studios are usually air-conditioned. Some large concerts and festivals are held outdoors in parks, arenas or stately homes. Musicians in the armed forces often play outdoors on parade.
The work can be physically demanding, and involve hours of practising and rehearsing with the other members of an orchestra or choir before each performance.
Classical musicians can spend considerable time travelling both around the UK or abroad, and can be away from home for long periods.
R[3]
12. What is "The fixer" in classical music recording?
someone who finds musicians based on the critera supplied by the producer.R[4]
13. What types of equipment are used in classical recording?
microphones and stands, mixing console, reverb unit, gates, pre-amps, headphones, recording software, computer, reel to reel deck, dat recorder, ADAT recorder,monitor speakers
14. Where is the equipment set up for a session or live recording?
in the control room
15. How does the producer communicate with the conductor or performers in a session recording?
In a live situation the producer communicates with the conductor via monitor system.(talkback from the soundboard).two way radio or even video monitor system In the studio, from the desk in the control room, visual contact as well as communication via headphones or studio monitors is used.
16. Does the producer communicate with the conductor or performers in a live recording?
yes, the producer communicates with almost everybody
17. What does the producer do during a recording session?
the invisible or documentary style producer records what has happened during a performance with as little influence as possible. The latter type is quite common in classical and jazz circles
the one who helps guide the artists and tries to get the best performance possible from them. May also make suggestions about song arrangements and overall sound, and will try to convey to the engineer the type of sound desired
18. What does the assistant producer do in a recording session?
helps the producer with any number of tasks, most lickly the more administative stuff
19. What does the producer do during a live recording?
the producer makes sure that the creative side of things is flowing as intended. Working with the recording engineer, the musicians, lighting designers and the conductor. They assist with some of technical stuff and even draw permits.
20. How does the producer prepare for a recording session?
assuming the venue is chosen a producer would then contact the musicians and arrange the date and time. Once in the studio, the producer then leands a keen ear to what is going on and making suggestions during the rehersal.
21. How does the recording engineer prepare for a recording session?
If it is to be live, the engineer will need to find out how many and what kind of pieces are in the orchestra. Set up the nessessary microphones and test them.
22. How do orchestral musicians prepare for a recording session?
they reherse the piece until it is good enough for print
23. What limitations are there for the producer in a live recording?
seperation from the stage to the control room. assuming there is an audience, that adds a level of nervousness that does't seem to exist in the more relaxed atmosphere of a studio.
24. What limitations are there for the recording engineer in live recording?
there is only one chance to get the recording and there is very litle that can be done during post production.
In other words, once the music is a stereo recording, alot has been committed. The room itself is also going to sound the way it sounds. I'd say thats another limitation.
25. Does a live recording of classical music require a PA system?
no, A mixing console for elaborate recording schemes but not an amplified system.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
Well if the recording is audience free, things are bit casual. Throw in one tv camera and all of a sudden wardrobe and etiquite are vital. Not to mention the additional equiptment and crew to.
additional problems could arrise while: navigating a network of trasmitter sites , using microwave radio link technology to send music to and from the remote truck to the studio center, using land lines us as well as radio-frequency links mabee even satellite for world wide trasmission.[R]5
27. How are microphones set up for solo instruments?
Microphones for solo instruments are placed above the section to be recorded, set up in front of or susspended in front of them.
gate, compression, reverb and eq can be applied at the board
28. How is a microphone set up for solo voice?
If the band has a piano, the vocal mic is placed so that the piano is in between the singer and the rest of the music. The vocal mic can also be one of the two mics used for the piano
29. How are microphones set up for chamber ensembles?
A cluster of 3 omnidirectional mics. placed in front of the musicians and about 3 metres high would be a likely starting arrangement.
[r]6 An overall stereo image can be formed with a trio of omnidirectional, ("omni") mics.
30. How are microphones set up for orchestral music?
a stereo pair of mics infront and for the solo instruments, a stereo pair for each section. A little care needs to be taken to place mics where they will pick up the sound from the instrument, whether it be pointed up in the air or off to the side, or placed above and facing down.
31. How are microphones set up for music for chorus and orchestra?
Same as above except the seperation on stage is more critical.
32. How are microphones set up for opera?
Use two or three uni-directional boundary mics on the stage
floor, in a line about 1 or 2 feet from the edge of the stage and
depending on the program, wireless lavaliers or head set mics, even suspended mics are used.
33. How are microphones set up for a live recording of opera?
Use two or three uni-directional boundary mics on the stage
floor, in a line about 1 or 2 feet from the edge of the stage.
34. Is classical music recording straight into stereo or onto multitrack?
stereo mostly but multitrack also
35. If a multitrack recording is made of classical music, what format will be used?
Digital
36. Describe the conduct of a recording session.
a recording session should be a happy experience, costructive critisizm and respect for each other should be present
37. Describe rehearse/record.
38. Describe the conduct of a live recording.
39. How much editing is involved in classical music recording?
not so much, although the songs have to be marked and applause mixed in and the seperation has to be achieved with panning and eq.
40. How are decisions taken on the selection of takes and edit points?
the producer has the creative aspects in mind, so when the producer has an idea, chances are it is taken with respect.
41. Who performs classical music editing?
the recording engineer or the recording producer
42. What equipment is commonly used for classical music editing?
digital software, computer, reverb unit, eq,
43. What problems are commonly found in editing classical music?
there is reverb in the hall so when it comes time to edit the reverb gets cut off here and there. creating seperation between the intruments has to be challenging.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
yes
45. Discuss some of the technical difficulties associated with editing classical music such as this?
there are alot of instuments. To keep an ear on all that while colaborating with others in a creative manner is commendable
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
the instruments are close mic'd so reverb adds the realism of an orchestra in a hall
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
set and pay for studio time, deal with the musicians unions, record labels or bmi and ascap for contracts. handles permits and certain other leagal documents such as copyright papers that may need attention.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
classical music venues are often quiter, they are designed produce clear sound. control room in an orchestra hall is in a seperate place.
pop music recording venues are often studios where each part is recorded seperatly later mixed. At live pop recording venues, often sports arenas, the room is not as accurate. close mic'd instruments are fed to the board and output from the board are sent to the recorder.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
Aim a flat condenser mic at the soundboard about 18 inches away. yhis mic has to pick up everything else on the stage.
50. Would you think a compressor would be used in classical music recording? Briefly discuss your answer.
yes, A compressor can be used to enhance any musical content
R[1]http://www.absoluteastronomy.com/encyclopedia/c/ch/chamber_music.htm
R[2]http://www.tape.com/Bartlett_Articles/stereo_microphone_techniques.html
R[3]http://www.learndirect-advice.co.uk/helpwithyourcareer/jobprofiles/profiles/profile1312/
R[4]http://www.bbc.co.uk/radio1/onemusic/management/sessionp09.shtml
[R]5 Sound and Recording pg 52
[r]6 http://www.users.globalnet.co.uk/~bunce/bal2.htm |
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Fri Mar 18, 2005 8:48 pm |
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Freshwayne
Joined: 28 Feb 2005
Posts: 5
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1: Classical Music, Film Music and Popular Music is all possible with an orchestra.
2: Violins / Viola / Cello / Bass / Harp / Piano / Flute / Clarinet / Oboe / Basoon / Saxaphone / Horn / Trumpet / Trombone / Tuba / Percussion / Timpani / Drum kit
3: Strings: 1st Violins / 2nd Violins / Viola / Cello / Bass
Woodwind: Flute / Clarinet / Oboe / Bassoon
Brass: Trumpet / Trombone / Tuba / Horn
Percussion: Timps / Drums / Vibraphone / Xylophone
4: Voices can be Soprano/Alto/Tenor/Bass and are treated and scored as an orchestral instrument
5: Classical Music can be recorded in a studio, but is usually recorded in one of the
following under studio conditions:
i) Concert Hall
ii) Theatre
iii) Church
iv) Town Hall
6: Conductor / Producer / Engineer / Assistant Producer / Musicians /singers if required / Fixer and possibly composer.
7: As well as a qualification in sound engineering, I would say a classical producer
must have a qualification in music - probably in performance or conducting so that
(s)he can appreciate the texture of an orchestra, and readily identify mistakes that
(s)he can hear straight away without needing to be told. To this end it is preferable
that the producer can also read music.
8: They would have to have a sympathetic ear to classical music first off. Also an in-depth
understanding of microphone placement which is infinitely more complicated then straightforward pop recording. Digital recording is also essential.
9: Although it is possible to take and re-take incorrect playing etc, the classical music
recording session will still have an atmosphere of concentration and respect for the
conductor - most self respecting musicians will want to get it right first time, however
it is less stressful then the live recording where there is one take and thats it.
10: In the live recording, the producer, conductor and engineer are under a lot more pressure
as they only have one shot to get it right first time. It is therefore more tense.
11: Recording Sessions last two hours or three hours. A three hour session can be extended, with the musicians' consent, by up to half an hour.
Sessions start at exactly the correct time. Musicians are ready to blow or scrape as necessary. Likewise, they finish at the correct time too, even halfway through a take.
There has to be a mid-session break. There are certain limits on when this break can be taken.
Only twenty-two minutes of recording from each session can be used on the final CD.
12: The 'Fixer' is the person responsible for employing the musicians / singers for recordings.
13: Plenty of microphones for a start. A high quality digital recording / mixing system is
an essential as well as good monitor speakers. Effects / processors are also used if
required.
14: Ideally the equipment would be set up in an isolated room away from the orchestral source
but it can also be as far away as possible from the source, just outside the room.
15: The producer will communicate via a talk-back system. The preferred method would be
through headphones so as any comments the producer may have can be heard only by the
conductor who in turn will relay these wishes to the orchestra.
16: The Producer conmunicates with the conductor during a session to advise on the quality
of performance. He does not communicate with the performers directly - only through the
conductor.
17: The producer will perhaps have a score of the music in front of them watching and listening to the sound quality and the performance level. (s)he will then communicate
directly with the conductor as regards anything that needs to be redone or edited.
18: Log all takes with take number, which section of the piece has been recorded, where on the tape the take starts and finishes, comment on the quality of the take. Indicate FS (false start), NG (no good) etc.
19: The producer in a live situation will deal directly with the engineer regarding the
mixing of the recording and talk to the conductor via talkback if necessary, but in a
live situation it is better to leave the conductor perform with his orchestra.
20: Select the right location for the recording
Perhaps have an involvement in the selection of the orchestra or musicians.
Have an involvement in the selection of the engineer (although the record company might stipulate which engineer is to be used in order to maintain consistency among products).
Liaise with the conductor and engineer to plan the recording in terms of which parts of the music will be recorded first (it can be edited into the correct order later), and the placement of the musicians within the recording space. Liaise with the conductor on which version of the score (the written music) will be used. Often, scores come in slightly different versions from different publishers (with different errors).
Ref: David Mellor : http://www.dmxl.net/coursenotes/classicalmusicrecording.html
21: The engineer decides in advance, in consultation with the producer, how the orchestra will be set out in the recording area, how many microphones and which types, and produces a plot of the microphone layout so that his or her assistant can set out the mics well before the session begins. The engineer will often 'fine tune' the position of the mics himself. The engineer will also be responsible for specifying the recording equipment to be used, and arranging its hire if necessary. The engineer will set recording levels, mix the signals from the microphones directly into stereo. Ref: David Mellor : http://www.dmxl.net/coursenotes/classicalmusicrecording.html
22: First and foremost they will ensure that if they have their music in advance, it is
looked over, and they are familiar with it. They will arrive in good time, usually half
an hour before they are due to start. In that half hour, they will warm up, tune up
and be seated in the appropriate position for their section (ie strings/brass etc...).
They will ensure that at the appropriate time, they are completely ready to go.
23: Obviously the producer in a live situation may not be able to pick the venue. (S)he will
not be able to dictate the order that the music is recorded in. (S)he will not be able
to re-record wrong notes, or be able to interrupt a take mid-stream if it is not up
to scratch.
24: In a live situation the microphones have been pre-set,and cannot be tinkered with during
the take. Any problems with sound will have to be solved from the mixing desk, and not
by microphone adjustment. The orchestra will also be laid out as an orchestra, and not
in a predetermined way that the engineer might prefer in a studio recording environment.
25: No
26: I would hazard a guess that microphones being visible and obtrusive would be a major
issue with TV companies. Also the TV companies would require a seperate mix for their
broadcast.
27: Mics for solo instruments are set up in front of the instruments directly pointing at the
point of sound on the instrument - e.g. the bell of the trumpet, the mouthpiece of the
flute.
28: Directly in front of the singer, and between the singer and his/her music.
29: Using 3 microphones to create a full stereo image of the group.
30: Each individual section would be mic'd up - probably using a stero pair of microphones.
However solo instruments would have their own mic.
31: As above and there would also be seperate microphones for the different vocal ranges
in the chorus.
32: Several omnidirectional microphones in front of the singers.
33: As above except solo singers would have a head set, or lapel mic to record solo lines.
34: Stereo - But mulitrack can be used for more difficult projects, such as opera.
35: The highest available digital format - recorded at typically 96khz, 24 bit res.
36: A recording session is a serious matter, where musicians are expected to take their work
seriously and show the ultimate respect for the conductor and his wishes, regardless of
how frustrating it may be on takes and retakes.
37: Each section is rehearsed and recorded to check for quality etc, and then recorded for
real.
38: A live session is basically the same in terms of respect etc.. for conductor, but each
musician must be at his best as there is only one chance to get it right.
39: I could not find an answer to this, but from my experience I would venture the required
answer is very intensive editing, since it is very hard to find suitable edit points in
the middle of a piece of classical music due to tempo difference, possibly tuning issues - take it from me I'm a conductor and I've experienced this!
40: Ultimately the producer will have the final say on where the edit point is - the producer
will reference the log prepared for him by the assistant producer when it comes to
labeling up these edit and reference points.
41: A specialist engineer in classical music editing, who will work under supervision of
the producer who dictates edit points etc..
42: A Very High End wave editor and an excellent pair of reference monitor speakers.
43: Finding a point that is not cutting across the natural reverb from some of the
instruments is a major concern. Finding a cut that preserves tempo and volume (dynamic) - often a couple of takes can be of slightly different tempo - that gives the music its human feeling, and volume wise can be slightly different also.
44: Yes these fx/processors are used if the venue is not up to scratch acoustically wise
and some reverb is necessary for broadcast... if the soprano needs a boost on her
low notes to take her levels up to her high notes volume... as a couple of examples.
45: As outlined before - technical difficulties are
i) Preserving Tempo
ii) Preserving Dynamic across the orchestra
iii) Avoiding editing of reverb tails
46: If the acoustics in a venue are not up to scratch, it is easier to apply digital fx to
the sound rather then spend hours placing microphones and replacing microphones etc..
47: Select the right location for the recording
Perhaps have an involvement in the selection of the orchestra or musicians.
Have an involvement in the selection of the engineer (although the record company might stipulate which engineer is to be used in order to maintain consistency among products).
Liaise with the conductor and engineer to plan the recording in terms of which parts of the music will be recorded first (it can be edited into the correct order later), and the placement of the musicians within the recording space. Liaise with the conductor on which version of the score (the written music) will be used. Often, scores come in slightly different versions from different publishers (with different errors).
48: Classical music venues would tend to be much larger - obviously to accomodate the number
of instruments that would not exist in a smaller pop combo. Pop music venues would tend
to be sound proofed - small 'dead' studios, whereas a classical venue would rely on the
natural acoustics of a larger theatre (in some cases).
49: I would hazard a guess that the plucking motion of the players fingers and the pedals
could cause noise that would be undesirable to record.
50 For a singer - a soprano, with a very wide range often the lower notes are not as strong
as the higher notes in her range. In this case a compressor could be used to give the
lower notes a boost. |
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Fri Mar 18, 2005 9:51 pm |
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chemira
Joined: 03 Jan 2005
Posts: 50
Location: Nova Scotia Canada Eh! |
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Week Two: Classical Recording Techniques
1. Express the types of music typically played by an orchestra?
An Orchestra would most often play Classical music typically Western Classical Music or Opera[2]
2. List the instruments that may be used in classical music?
Classical music may be scored for any of an abundant variety of instruments including Percussion, Brass Strings and Woodwinds. Among Percussion there may be snare, bass drum, cymbals, gongs, Timpani, marimba, xylophone bells castanets triangle and tambourine. For Brass the Trumpet, French horn, Trombone and Tuba. String ensembles may consist of Viola Violin Violoncello and the Double Bass. Woodwinds would complete the instrument list with Flute, Piccolo, Oboe, English horn, Clarinet, Bass Clarinet, Bassoon and the Contrabassoon[1] The piano, harpsichord and other percussive strings may also be included in classical music arrangements.[3]
3. Group some combinations of instruments that are used in classical music?
A full orchestra or a Chamber Orchestra, and chamber ensembles consisting of; strings, woodwind ensemble brass ensemble wind bands brass bands and choirs. The ensembles may consist of two or more similar instruments or even two or more different instruments or a combination of both. There is really no limit to the instrumentation used in Classical music but it is recognizably from the list of instruments listed in question 2. [3]
4. How are voices combined with instruments in classical music?
Voices are combined in several ways including Choirs, vocal groups, solo vocalists and with staged operas with several singers exchanging leads during the performance. The music further emphasizes the mood to the voice or voices.
5. Where is classical music generally recorded?
Classical music is generally recorded in a large auditorium or concert hall. Basically enough space to fit the entire orchestra with a high regard for acoustics taken into account. The sound of the room is vital to the sound.
6. Who might be involved in classical music recording?
There may be several people involved in the recording of an orchestra. Logistical details would have to take into account regarding the size of the orchestra the environment that it will be recorded and the intended distribution of the recording. Live recordings require a producer, engineer(s) and assistants for set up and other duties.
7. What abilities and qualifications would you think a classical music recording producer need?
A classical music recording producer would require a keen ear for the subtlest details along with the understanding of the capabilities and limitations that recording classical music poses.
8. What abilities and qualifications would you think a classical music recording engineer need?
As with the producer the engineer is key in recording a transparent representation of the performance being recorded. Understanding the room, the microphones and the equipment is vital. Liaising with the producer to ensure that proper communications and understandings occur during the recording session.
9. Discuss the working conditions of a classical music recording session.
A classical recording session would be a quality oriented task. Preparation to ensure the best selection of preamps, microphones and microphone technique along with correct placement. Pre rehearsal set up is a must to ensure the equipment is functioning properly well before the time of actual recording . Constant monitoring and assessment of the audio quality would be maintained throughout the warm up and rehearsal to assure the best possible results. The Producer would liaise with the conductor during the recording and he must be able to assess the quality. Sections may be recorded as takes within a piece of music. Care must be given to proper timing during the final mixing process. Complete awareness of the signal quality must be maintained throughout the 3 hour sessions. Usually there will be several pairs of microphones grouped together for each section and these pairs can be double tracked for added insurance. [3] [4]
10. Discuss the working conditions of a live classical music recording.
A live Classical recording would share many similarities with the Classical recording session. The main differences would Be that the recording would be continuous, audience would be part of recording, live feeds may be required for TV transmission.
11. Discuss the way classical musicians work.
Classical musicians are typically members of a music union which will dictate the number of hours they work at a time between breaks the wage they receive(scale) and the number of members that must be present to make the recording legal.
12. What is "The fixer" in classical music recording?
A Fixer in classical music is the management contractor. A representative agent for the musicians for placement in an orchastra.
13. What types of equipment are used in classical recording?
Microphones of all types and styles, Microphone cable of long length and high quality, Boom stands, Preamplifiers typically with a large dynamic range, transparent qualities and low noise, mixing board or desk, recording medium with multitrack capability(not in purist recording) Monitoring capabilities and possibly multiple headphone monitoring equipment.
14. Where is the equipment set up for a session or live recording?
Session recording equipment may be setup more openly and in plain view, live recording is set up minimal exposure of equipment and some equipment (Mixer or preamps) is set up Remotely in a monitoring room or mobile trailer/truck.
15. How does the producer communicate with the conductor or performers in a session recording?
Talkback mic through his headphones or other monitoring system. [3]
16. Does the producer communicate with the conductor or performers in a live recording?
The producer communicated with the conductor only.[3]
17. What does the producer do during a recording session?
Assist the conductor in creating the best musical image at the same time ensuring the sound engineer captures the performance with the best possible quality. The producer is a vital part of selection of musicians recording spaces and musical pieces. He is responsible for logistical task Quote “what type of recording process and how much budget is available for the studio time, even down to food and taxis” Unquote [6]
18. What does the assistant producer do in a recording session?
The Assistant Producer ensures that all of the proper documented details for timings, takes, and arrangements. Assists in what ever duties that the producer would specify.
19. What does the producer do during a live recording?
The producer would ensure that all of the musical requirements are met with regards to the performance. Recording is carefully monitored in an isolated location if possible to ensure the recording feed quality is satisfactory.
20. How does the producer prepare for a recording session?
The Producer will assess all of the location needs for the recording sessions and make the necessary arrangements to ensure all the details are carried out on time and on budget.
21. How does the recording engineer prepare for a recording session?
Inventory the right selection of equipment for the session to ensure the producers goals are met. Familiarization of the venue, the music , the score, the performers and any other factor related to the recording of the music. Equipment must be prepared with attention all requirements.
22. How do orchestral musicians prepare for a recording session?
Some pieces are rehearsed prior to the recording giving the musician time to prepare and practice separately prior the recording. Some pieces are sight read and are only rehearsed during sound checks.
23. What limitations are there for the producer in a live recording?
The performance MAY only be played once so there will be no ability to fix errors or correct flawed recording. It must be the best the first time.
24. What limitations are there for the recording engineer in live recording?
The sound after the audience enters the room or even the added volume that may be encountered as live performances may increase or decrease making the sound check close to but not sounding like the intended final sound. Adjustments must be made and monitored precisely. There is no room for error as this may be a one take recording.
25. Does a live recording of classical music require a PA system?
There is no requirement for a PA System to record live Classical music. If anything the use of any PA system would cause problems with the recording.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
If a classical recording is also going to be recorded or broadcast there are several issues that the sound engineer must deal with. There is the requirement for time code stamping for Audio Video synchronization at final edit mixing. Equipment may would depend on the format requirement. The broadcast mix will require an immediate balance of the orchestra through the main mix inputs or through alternate in house microphones. There may be the requirement for other signal splitting, combining or conversion equipment that all increase the technical difficulty and margin for error. The larger the production the more technical expertise is needed. Mixing must be done to the format of distribution required which may take on several technical specifications.
27. How are microphones set up for solo instruments?
For an Orchestra using as much isolation as possible utilizing physical isolation, separation, close micing and maximizing the best off axis rejection as possible for the given microphone.
28. How is a microphone set up for solo voice?
A Solo Voice Microphone, usually a large diaphragm condenser will be set up in front of the singer utilizing as much separation as possible similar to the solo instruments.
29. How are microphones set up for chamber ensembles?
Chamber ensembles may be omni directional mices in an XY Pattern depending on the size and instruments in the ensemble. The distance the mics are pulled back will determine the width and focus of the stereo field. MS, Mide Side[9] recording technique is also used.
30. How are microphones set up for orchestral music?
Orchestral music is recorded in many different ways. A purist Stereo Pair is the bare minimum to place the orchestra within a sense of space depth and time. Sections may separated and spot miced, soloist may have their own mic and some instruments may receive their own. Any combination of Overhead hanging or on boom stands for full, distant and separated micing.
31. How are microphones set up for music for chorus and orchestra?
For recording a chorus and orchestra overhead spaced pairs if sound separation is possible if not XY in a closer and lower configuration may be best suited. Microphone placement must create the most rejection from the opposite sources of sound.
32. How are microphones set up for opera?
33. How are microphones set up for a live recording of opera?
Microphone arrays or stereo mic pairs. [11]
34. Is classical music recording straight into stereo or onto multitrack?
Classical music is recorded both straight into stereo and onto multitrack.[12]
35. If a multitrack recording is made of classical music, what format will be used?
Digital Multitrack utilizing the highest possible resolution. [13]
36. Describe the conduct of a recording session.
The conduct of the recording session is very professional and all the people involved are expected to be prepared. Quote “the performers should be fully rehearsed with a minimum of around 60 minutes of material ready to record.” Unquote. [13]This is true for the Producer and the sound engineer. They both must be prepared and fully aware of the music through their research of the music, venue and equipment. [13]
37. Describe rehearse/record.
This method of rehearsing then recording a section is used when a piece of music is very long and can be broken up into segments or sections. The music may even be new to the musicians giving the repeated attempts to achieve their best performance. This is very time consuming and may not achieve best results for a given orchestra or piece of music. [13]
38. Describe the conduct of a live recording.
A live classical recording will be at a higher standard of professionalism. The recording equipment must be set up in an unobtrusive manner and must perform flawlessly. Monitoring must be precise and adjustments made immediately. Usually there is only one chance to capture the music but with “invited” audiences several takes “May” occur.
39. How much editing is involved in classical music recording?
Editing used to have minimal amount of editing with the preference to utilize longer passages. Now selection of flawless takes is becoming the norm with a multitude of edits being performed.
40. How are decisions taken on the selection of takes and edit points?
41. Who performs classical music editing?
Classical music editing is done by specialist who does this as their specialty. The producer and conductor may be involved in the selection of the takes but the editing is dome by an sound editor.
42. What equipment is commonly used for classical music editing?
Typically today the computer is the editing medium of choice. It allows instant selection of all recorded takes for monitoring.
43. What problems are commonly found in editing classical music?
Room ambiance/reverb may not be the same at the edit point so the splice may not be transparent. Tempos may vary slightly creating a small surging of tempo.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
Classical music recording does not normally have effects utilized in the purist recording process.
45. Discuss some of the technical difficulties associated with editing classical music such as this?
Technical difficulties that can occur while editing are the additional splice points require zero crossings and perfect phase to ensure the edits are transparent.
46. Often a digital reverb unit can be utilized for recording classical music for broadcast? Why is that?.
With all of there changing room ambiance there will irregularities in the sound of the room. Using a digital reverb unit would smoth out the differences in reverb. I would hazard to guess that broadcast formatting is digital so this would also alleviate conversion encoding as well.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
The producer books, confirms and pays for all functional requirements to facilitate the recording. This would include, the hall, the sound engineer, the food, transportation and lodgings as required.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
Classical recording venues are usually large acoustically rich settings. Pop recording venues are smaller acoustically inert settings. Drum rooms may be more lively but not as large or lively as sound halls.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
A high quality condenser mic positioned 1-2 feet from the striking point. [14]
50. Would you think a compressor would be used in classical music recording? Briefly discuss your answer.
At the discretion of the Producer a compressor may be employed to enhance any musical instrument or voice that has a wide dynamic range. Notes at the higher registers of voices or instruments may not have the same volume so compression leveling will assist if used musically.
[1] http://www.mathcs.duq.edu/~iben/instru.htm
[2] http://encyclopedia.laborlawtalk.com/Orchestra
[3] Studio Recording Engineer
[4] http://www.soundonsound.com/sos/feb02/articles/cheshire0202.asp
[5] http://www.akeener.fsnet.co.uk/prodrole.htm
[6] http://www.bbc.co.uk/music/parents/careersguide/production_engin.shtml
[7] http://www.enjoythemusic.com/superioraudio/guiltypleasures/0904/
[8] http://www.unitel.de/uhilites/1998/051598.htm
[9] http://www.mackie.com/products/800r/midsize.html
[10] http://www.telarc.com/about/history3.asp
[11] http://www.creativeaudio.com.au/media/mediab.html
[12] http://www.westonsound.com/article%201a.htm
[13] http://www.operaomnia.co.uk/pages/recording%20guide.htm#Recording
[14] http://www.saecollege.de/reference_material/pages/Other%20Str%20Inst.htm
Cheers |
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Sat Mar 19, 2005 10:51 am |
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rachelh
Joined: 16 Jan 2005
Posts: 35
Location: Trinidad WI |
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1. Express the types of music typically played by an orchestra?
The types of music typically played by an orchestra are:
I. Symphony
II. Chamber Music
III. Concerto
IV. Opera
V. String
VI. Jazz
VII. Steel Pan
VIII. Non-Western classical music traditions: Chinese Music; Indian Music; Indonesian Music; Arab Music; Japanese Music [1]
2. List the instruments that may be used in classical music.
The instruments that may be used in classical music are as follows: -
Cornet, flügelhorn, tenor horn, B flat baritone, trombone, bombardon (bass tuba), bells, gongs, xylophones, pianos, first violins, second violins, violas, cellos, double basses, harpsichord, trumpets, French horns, tuba, clarinets, bassoons, piccolo, flutes, oboes, cellos, human voice; recorder.
3. Group some combinations of instruments that are used in classical music.
Some combinations of instruments that are used in a classical music orchestra are as follows: [1]
1. The string section, which forms the backbone of orchestral sound, is divided into four parts [as a vocal choir is divided] This section includes: first violins, second violins, violas, and cellos and double basses
2. The woodwind section may consist of one or more of the following: oboes, flutes, bassoons, and clarinets.
3. The brass section, in its fully developed form, typically consists of trumpets, horns, trombones, tubas, bass trombone, Wagner tuba; English horn, piccolo, double bassoon, bass clarinet.
4. The percussion section may consist of one or more of the following: timpani (kettledrums), a side drum (snare drum), a bass drum, cymbals, and a triangle.
5. According to the needs of the composition, there may be need for the incorporation of additional instruments such as a harp and piano, xylophone, glockenspiel, or even a Chinese wood block
4. How are voices combined with instruments in classical music?
Voices are combined with instruments in classical music for example as done in opera where the singers provide the foundation and the orchestra provides the framework, the background and the underpinning [1]
Voices can also be arranged as a group as instruments can in terms of intonation and pitch, and this format can be used to blend the two instruments together i.e. music and voice. The use of vocals and instruments in classical music is that one supports and compliments the other to effectively tell the story being told.
5. Where is classical music generally recorded?
Classical music is generally recorded in a concert hall or a recording studio [which is large enough to accommodate a classical orchestra, as the number of players in a modern classical orchestra may vary from about two dozen or fewer or surpassing 100 persons].
6. Who might be involved in classical music recording?
The persons that may be involved in classical music recording are the instrumentalists, the conductor, the recording engineer, assistant recording engineer and producer.
7. What abilities and qualifications would you think a classical music recording producer need?
The abilities and qualifications that I think that is needed by a classical recording producer would be a specific idea of what the final recorded output should be. To do this he/ she would have to have a generalised consensus on what he/ she wants as the output and what steps should be taken at achieve the desired sound i.e. knowledge of the psychoacoustics of hearing, knowledge of classical music and all associated terms and forms of expression would also be an asset. Qualifications should include project management or basic management skills, and most importantly a music qualification and sound engineering degree so that the concepts would not be alien to him/ her.
8. What abilities and qualifications would you think a classical music recording engineer need?
The abilities and qualifications that I think is needed my a classical music recording engineer are would be a keen knowledge of orchestration, even though it is the job of the conductor to have such knowledge, the engineer needs to capture the best possible sound, this is in his/her best interest, knowledge of sound psychoacoustics is not enough, the engineer has to delve into the classical music jargon and get knowledgeable with the techniques used. Knowledge of the seating arrangement for a classical orchestra is also vital for the engineer to know, that way he/she will have before hand knowledge of the placement for microphones. It is vital to note that seating is determined by the music being performed. The engineer definitely has to plan ahead. Before the session decisions have to be made with respect to microphone placement and techniques, types of equipment to be used, should artificial effects be used or should the recording rely on the ambience of the venue etc.
For someone to engineer a classical recording session I would expect that they would have had some kind of experience in the classical music genre, a previous credit as an assistant engineer for a classical recording session would definitely be an asset. Of course a degree in sound engineering is a pre-requisite for the job, but basic management skills are an asset due to the complexity of the task at hand.
9. Discuss the working conditions of a classical music recording session.
The working conditions of a classical music recording session would firstly be determined by the producer’s approach to recording the instruments i.e. either as an ensemble or in groups determined my instrument. Either way, the producer or engineer would initiate the recording and direct the conductor on how to proceed, during takes, the recording will be monitored and if any changes are to be made the orchestra would be made to repeat the segment /s accordingly. The conductor would play a vital part as he would use his knowledge of orchestration to assist the producer and engineer.
10. Discuss the working conditions of a live classical music recording.
The working conditions of a live classical music recording would be that the musicians would be located on stage. The Conductor, who would proceed with the pre- determined outline of the performance, would cue the start of the performance. He will get his guidance from the producer and engineer via the monitor hat he would wear so they could relay messages to him.
11. Discuss the way classical musicians work. [1]
The way that classical music works is that they take all of their musical direction from the Conductor who is skilled in the art of directing them normally employing manual silent gestures with the use of a baton. It is pre-determined that the right hand would indicate meter which is the number of beats per measure and tempo, and the left hand both to signal entries of the different instruments and to communicate aspects of musical interpretation such as increases in volume. ‘The right hand moves in commonly recognized patterns for groups of two, three, four, or more beats per measure; these patterns have in common a downward movement on the first beat (sometimes called the downbeat).’
12. What is "The fixer" in classical music recording?
The “fixer” in classical music recording is an employment agent who has a large repertoire of clients.
13. What types of equipment are used in classical recording?
The types of equipment used in classical recording are as follows -:
I. Microphones such as the Schoeps CMC-6s, B&K 4003 Omnis
II. Choice of recording medium/ format such as analog or digital
III. Headphones
IV. Amplifiers
V. Noise gates
VI. Acoustic barriers
VII. Digital mutlitrack recorder
VIII. Mixer
IX. Hard disk recorder
X. Console and other equipment usually housed in a control room such as autolocator devices, monitoring speakers, effects devices etc.
14. Where is the equipment set up for a session or live recording?
The equipment set up for a session or live recording is housed/ located usually backstage but close to the stage or in an isolated area in the audience or alongside the stage hidden away by backdrops but definitely out of the way of the performers and patrons. Cables would have to be run where they would not be disturbed or trampled upon especially for mics located at the back of the audience.
15. How does the producer communicate with the conductor or performers in a session recording?
The producer communicates to the conductor or performers in a session recording via the use of a PA system, or the conductor wear a monitor so that the producer could communicate with him and he can work accordingly.
16. Does the producer communicate with the conductor or performers in a live recording?
During a live recording it may be difficult for a producer to communicate with the conductor and/ or performers as there is an audience around observing all proceedings, the solutions would be to have conductor wear a monitor so that the producer could communicate with him during the performance or to speak to them during breaks/ intermissions in the performance back stage.
17. What does the producer do during a recording session?
During a recording session the job of the producer is to look after the artistic aspects of the recording. They are there to oversee the aspects that the engineer does not have control over, their knowledge of project management and instrumentation will ensure that everything runs smoothly, the instrumentalists as well as all other performers and staff inclusive of the engineer are being catered to as well as doing what they are supposed to do. Also they are there to solve any problems that go outside the realm of the engineer for example bringing out the best out of vocalists and instrumentalists who may be nervous, although the job of the conductor, recording music is whole other experience than just performing at a concert so the conductor himself would need guidance. The producer is there to ensure that the project turns out the best.
18. What does the assistant producer do in a recording session?
During a recording session it is the job of the assistant producer to of course assist the producer. Their job may entail the carrying out of instructions i.e. doing the running around for the producer whilst relaying messages. They are also there to give additional support to the producer by giving him additional input to decision-making and problem solving. Also because of the task at hand the assistant producer will do the micromanagement part of the job while the producer will oversee the general running of things.
19. What does the producer do during a live recording?
During a live recording the producer assumes his general project management role, more than likely he will be in the room or place where the engineer is located, overseeing the process. He would have made all necessary steps before the actual day and would be doing some tweaking before the recording begins, once the process starts he will just have to sit back and watch.
20. How does the producer prepare for a recording session? [1] [2]
The preparations made by a producer for a recording session are firstly to decide what result is required, after deciding upon the result i.e. the post recorded sound that will be captured then, come up with an itinerary of events describing what will be needed to achieve the desired results.
The producer would have to choose whether he is going to use the “purist” or the “non-purist” approach toward the session. If the purist approach is being used the producer would place emphasis on the limited use of spot mics and after the fact alteration as well as artificial effects. The non-purists may take the pop approach by using headphones and click tracks to capture the session by instrument group rather than an ensemble, then piece the music together in the editing process and the use of artificial effects during the mix process. Or the producer may use a combination of both and put in their own spin into the mix for example recording the ensemble using 40 or 50 mics and everything microscopically recorded and massively mixed.
The producer would then have to choose an engineer who works well with the pre-requisite chosen for the session, decide upon the venue [choosing the best acoustical environment for the recording, whether a studio or a concert hall]. The producer would also have to set a time frame for the recording to be completed also for the post –production and mastering. He would also have arrange for the equipment needed to be available as well as non-music decisions such as pay roll, catering etc.
21. How does the recording engineer prepare for a recording session?
The preparations made by the recording engineer for a recording session would depend upon the pre-requisite given to him by the producer. The engineer would also have to brainstorm with the producer to make any suggestions or changes with respect to the itinerary given to him after this he would then set upon locating the musical equipment as well as providing himself with the tools and knowledge needed to make the recording in line with what the producer had in mind. With respect to the venue being used, as well as recording process [recording as an ensemble or by group] the engineer would then decide upon the microphones and other equipment that would be used and prepare in advance for any problems that may arise.
22. How do orchestral musicians prepare for a recording session?
The preparations made by orchestral musicians for a recording session would be to extensively practice the piece/ pieces being recorded. Whether the recording is being done by group or by ensemble would determine the nature of the practice. In general, the musicians would have to have their parts properly memorised and ready for accurate execution.
23. What limitations are there for the producer in a live recording?
The limitations for the producer in a live recording would be the lack of control that he would have over the situation. Because of the recording circumstance i.e. that the recording would be live, there is a lot of pressure to have the music prepared for accurate execution. There is no room for starting over, and all tweaking and fixes are limited to the editing room. His only choice is to have the orchestra practice extensively and choose his equipment wisely and hope that all bases would be covered. Practice recording sessions to eliminate the bugs would definitely be an asset to explore before the big day.
24. What limitations are there for the recording engineer in live recording?
The limitations for the recording engineer in a live recording would be the lack of control he would have over the equipment on stage with the performers. Extensive practice and testing of equipment would be done before the big day but anything may go wrong something as small as a loose cable can prove detrimental to the output of the recording. All of his fit-it abilities during the actual recording would be limited to the controls on desk other than that the editing room would serve as the next step.
25. Does a live recording of classical music require a PA system?
Monitoring devices can be used for the engineer to communicate with the conductor of the ensemble, who then can then relay these messages to the musicians with the use of his baton or using some pre-defines solution. But for a live recording a PA system is not necessary.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
The presence of cameras, and other equipment can mean a scamper for space as there is additional staff, equipment and more than one producer who has their input on what should happen.
27. How are microphones set up for solo instruments?
Microphones are set up using close microphone placement for solo instruments. As this technique allows the recorded sound not to seem influenced by the acoustic environment as it is ‘excluded’ also it creates a tight present sound quality and extraneous sounds aren’t picked up. This placement technique is when we place the mic 1 to 3 inches form the sound source. In general microphone placement should reflect the acoustics of the room.
28. How is a microphone set up for solo voice?
When setting up a microphone to record a vocal, the engineer has to take into consideration that the dynamic and timbral range of the voice as an instrument can produce a few undesired effects in the recording. Excessive dynamic range is produced when the mic is placed too close to a loud vocal thus, clipping occurs, to solve this the mic can be moved away from the vocalist during loud parts of the song or a compressor can be inserted into the signal path. Other unwanted effects such as sibilance, popping and excessive bass boost due to proximity all can occur and can be solved by using a de-esser, placing a windscreen over the mic or using an omnidirectional mic respectively. In general, miking a solo voice is dependent on the technique that the engineer prefers as well as the acoustical environment and the equipment/ microphone being used. [3] In general microphone placement should reflect the acoustics of the room.
29. How are microphones set up for chamber ensembles? [2]
For chamber ensembles, the placement technique can be as follows:
Because in chamber music all parts are of equal importance and each individual is assigned a different instrument, placement will be determined by the timbre and dynamics of the instrument. For example, an additional mic or mics may be needed for a flute in order for it to be clearly heard in an ensemble consisting of instruments with large dynamic ranges such as brass instruments. Microphones would be placed close to the instruments using the close microphone technique [mics being placed ‘closer’ to the softer instruments and further back for the louder ones] and additional mics would be placed further away from the instruments encompassing them, to capture the collective sound. In general microphone placement should reflect the acoustics of the room.
30. How are microphones set up for orchestral music? [5]
For orchestral assembles the placement technique may be as follows:
The use of Decca tree i.e. omnidirectional mics arranged in a triangular pattern, with the centre mic forward of the left and right ones - supplemented by various additional microphones. To convey more width additional omni microphones can be used at the back of the hall. The woodwind, brass and percussion instruments can also be individually miked this is determined by the preference of the producer. In general microphone placement should reflect the acoustics of the room.
31. How are microphones set up for music for chorus and orchestra? [5]
For orchestra, it is generally better to use a stereo main microphone. Other techniques that can be used are the The main techniques used are the Decca Tree (for good sounding rooms with short reverberation times), ORTF technique (for more reverberant rooms) and XY technique. For soloists and for chorus, it is better to place them at the front of the orchestra so that the rest of the orchestra would not drown their instruments out; this also helps in attaining a well-balanced recording. In general microphone placement should reflect the acoustics of the room.
32. How are microphones set up for opera?
For Opera, the microphone placement is would have to be determined by whether it is a live recording or a session recording, as live opera often encompasses dancing and lots of movement. A boundary mic may be used if a soloist is standing in one place singing or the vocalists can be individually miked especially if they have lots of movements to be made. Mics will definitely have to be placed at the back of the hall to capture the stereo sound. In a recording session, mics the vocalists can be arranged according to the tone of their voice and mics can be placed using the distant miking technique capturing all vocals or the XY technique can be used by having the vocalists focus at a specific point whilst being lined up in semi circles and the mics would be positioned at the two extremes [diameter] and positioned to fact toward the focal point which would be set at where the mics meet 900
33. How are microphones set up for a live recording of opera?
For recording opera, for a live recording, the vocalists would have to be individually wired, and omni mics can be placed at the back of the hall to capture the stereo sound and the XY technique can be used to capture the sounds being made on stage.
34. Is classical music recording straight into stereo or onto multitrack?
This is determined by whether steps were taken during the recording process to record in stereo sound [for example positing mics at the back of a concert hall to pick up the stereo sound] capturing the true performance in stereo. If not the recording can be recorded to multitrack and the stereo option can be selected.
35. If a multitrack recording is made of classical music, what format will be used?
If a multitrack recording is made of classical music, the format used will be used is
36. Describe the conduct of a recording session.
The conduct of a recording session is as follows:
The producer / engineer would initiate the musician to begin execution of their part and will use their monitors to speak to the musician and direct them, generally there is time to play around with, start over, practice, and do generally any experimentation and changes with the music.
37. Describe rehearse/record.
Rehearse/ record describes the procedure used during the recording process whereby sections of music are rehearse and then recorded, this is usually done when the instrumentalists are unfamiliar with the score being played.
38. Describe the conduct of a live recording.
The conduct of a live recording would be as follows:
The producer / engineer would prepare for the recording as much as possible, work out any kinks and problems that may arise during the rehearsal recordings. During the live recording itself, noise gates, compressors can be used in the insert point to help capture the best possible sound. The artists would also be briefed on how to ensure that the best possible sound can be captured and will work along with the production team to make it happen.
39. How much editing is involved in classical music recording?
The editing used in classical music is almost always reserved to the use of artificial effect devices such as compressors, noise gates and reverberation, the envelope and timbre of the instruments are not tampered with as classical music is based on auditory perception and listeners would pick-up on major changes made to instruments. And the genre itself does not delve much into artificial effects such as those used in today’s popular music.
40. How are decisions taken on the selection of takes and edit points?
Decisions on the selection of takes and edit points have to be made based on the music itself, i.e. musical notations and pattern of the music to make sure that when pieced back together in the editing process, the recording will flow smoothly and the edit will not be apparent. These points can also be determined by solo’s, runs’ and rifts in the music, it is all in the musical structure, notation, pitch and tone of the music at the point of edit.
41. Who performs classical music editing?
Classical music editing will have to be done by a combination of the mix engineer, the producer and the conductor. All of whom have a general consensus oft what the sound should be but the conductor, because of his extensive knowledge of the piece would be vital in the editing of the project.
42. What equipment is commonly used for classical music editing?
Equipment commonly used for classical music editing are monitoring speakers, artificial effects devices such as reverb, noise gates, compressors and cross fades.
43. What problems are commonly found in editing classical music?
Problems commonly found in classical music editing are as follows:
I. The difference in the levels/ dynamics of certain instruments are realised, artificial effects such as compression are used to bring up the level of the softer instruments or soloists to the level of the rest of the ensemble.
II. There may be some ambient noise noticed in the play back of the softer sections of a recording, thus noise gates are implemented to eliminate as much of the ambient noise as possible [4]
III. Clipping, may also be another problem found during the edit process as the dynamic range of these instruments normally surpass the dynamic range of the equipment used, thus the advent of clipping in the track. This can be solved by lowering the levels of the fader for the duration of the clipping and bringing them back up when the clipping has stopped, this process is called gain riding. [4]
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
All of the above processes/ effects can be used and in some cases are used in classical music recording. Compression is used to eliminate clipping, a compressor can be added to the insert point, reverb can be used if the acoustic nature of the room being used does not provide much reverb qualities thus reverb can be implemented in the mix to accentuate the recording, gating can also be used to eliminate ambient noise which is ever present in the softer parts of the music, a noise gate can be added into the insert point.
45. Discuss some of the technical difficulties associated with editing classical music such as this? [2] [5]
Some technical difficulties associated with editing classical music are as follows:
Because of the number of instruments being recorded and the various instrument groups, it is difficult to sometimes isolate sounds and your options as an engineer are limited with respect to how much of actual editing can take place. If you chose to record using a multitude of mics you will have the task of doing a massive mix using headphones for monitoring, which is a hard task to master.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?
Digital reverb units can be utilised for recording classical music for broadcast because some of the ‘live’ ‘big’ sound is lost during the broadcast, some artificial reverb can be used to ‘spruce up’ the broadcasted sound to limit the signal degradation.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
Some administrative functions that a classical music producer or assistant producer might do in a classical recoding session are time sheets [make sure all persons that are suppose to participate in the recording are there on time], order refreshments, record how long they stayed at the studio in order for billing for use of the venue to verified.
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
The differences between classical and pop recording venues all have to do with the size of the architecture of the venue. Classical music halls tend to be acoustically designed to house these instruments and to bring out the best possible sound which is good for the large sound build ups generated while pop recordings are recorded in smaller studios which may be acoustically absorptive and rely on artificial effects such as reverb to liven up the sound. The size of these venues is yet another big difference, classical venues tend to be quite large as classical orchestras range from about 24 or less to 100 and above persons while a pop act will most definitely have fewer than 20 persons to contend for the space. If a classical music perfprmance was to be recorded in a small pop studio, artificial effects would have to be used and the recording would have to be done in instrument groups and pieced together during the editing process, as the typical pop recording studio cannot house a classical ensemble.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
Beside the sound of the strings an orchestral harp may be tricky to record because of its structure, unlike other stringed instruments, a harp does not have a sound hole and has a different design i.e. no neck etc. therefore the sounds produced by plucking the strings of a harp are hard to capture as notes are scattered throughout the lengthy strings. Thus to capture the best possible sound from a harp, mics would have to be positioned in a way that encompasses the instrument so that all notes can be captured.
50. Would you think a compressor would be used in classical music recording? Briefly discuss your answer.
A compressor would be used in classical recording to brin | | | |
