AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
|
| Week 2 - Music 1 questions (priority) |
 |
|
Questions - Reply to these questions in this thread!
- click reply and paste in your answers having completed them in a notepad or word file first.
Good luck with completion by Sunday.
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. n/a
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.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
|
Mon Sep 05, 2005 6:58 pm |
|
|
thx1138
Joined: 07 Jan 2005
Posts: 21
|
|
|
|
Phew, had a bit of a nightmare finding relevant information but I got there in the end, hah I only hope I found the correct information  .
1. Express the types of music typically played by an orchestra?
Some of the types of music typically played by an orchestra are: Classical music, Film score, Opera, Theatre music, Rock/Pop orchestral sections, Chamber music.
2. List the instruments that may be used in classical music?
The instruments that may be used in classical music generally are:
The String section:
Violin, viola, cello, double bass
The Woodwind section:
Flute, piccolo, oboe, cor anglais (english horn), clarinets, bass clarinet, bassoon, contra bassoon
The Brass section:
Trumpet, trombone, french horn, bass trombone, tuba
The Percussion section:
Timpani, snare drum, bass drum, celesta, piano
3. Group some combinations of instruments that are used in classical music?
Instruments used in classical music are combined into sections which are the string section, the woodwind section, the brass section and the percussion section.
4. How are voices combined with instruments in classical music?
Voices are combined with instruments in a classical orchestra in the form of a choir to compliment what is being played. There are several types of voices:
Soprano - high female voice (not a fictional mafia family)
Mezzo Soprano - medium female voice
Contralto - deep female voice
Tenor - high female voice
Baritone - medium male voice
Bass - low, deep male voice.
5. Where is classical music generally recorded?
Classical music is generally recorded in a concert hall, a theatre or church. A traditional studio would be used rarely as an orchestra is rather large and most studios would be too small to accommodate an entire orchestra unless it was a studio specifically for the purpose of recording classical music and orchestras.
6. Who might be involved in classical music recording?
The people who might be involved in a classical music recording are: the producer, an assistant producer, recording engineers and their assistants, a conductor and (quite important this one) the musicians themselves.
7. n/a
8. What abilities and qualifications would you think a classical music recording engineer need?
The abilities and qualifications a classical music recording engineer would need would be a love of classical music, knowledge of microphone types and their placement, the ability to specify the recording equipment to be used and the organisation of how the orchestra is set up in the recording space. The ability to mix the signals from the mics and set appropriate recording levels, knowledge and qualifications in the field of digital recording and definitely a good ear for sound and acoustics.
9. Discuss the working conditions of a classical music recording session.
In a classical music recording session there would firstly be a period of rehearsal then recording (the engineer would have already set up all the microphones). It would be a little more laid back than a live session as the orchestra would not be playing to an audience so there would be room for mistakes as time would be available to perfect the performance.
10. Discuss the working conditions of a live classical music recording.
The working conditions of a live recording session would be a lot more tense than a normal recording session as the orchestra would be playing in front of an audience so there would be no room for fine tuning the performance and no room for retakes and mistakes. Also, as an audience would be watching the performance the orchestra would also have to look the part, i.e. wearing clothing you would expect from a classical orchestra, so no bermuda shorts or t-shirts. It would also be a much tenser situation for the engineer as mic placement and recording levels would have to have been set up properly before the performance as they could not be adjusted once the performance had begun.
11. Discuss the way classical musicians work.
Classical musicians usually play one or more musical instruments to a very high standard and would be just as at home playing as a soloist or within groups all the way up to full orchestra size. They would not just work within the traditional orchestral set up for live performances, they might also work in film, theatre, radio or television, composing their own scores and working as a session musician and recording music for songs/albums.
They would also have to spend many hours practising and travelling to and from performances and rehearsals so a high degree of discipline and dedication to their playing would be essential along with extensive knowledge of classical music and music in general.
12. What is "The fixer" in classical music recording?
The fixer is responsible for employing musicians and finding appropriate musicians specified by the producer. The fixer is the orchestra manager.
13. What types of equipment are used in classical recording?
Firstly, a lot of appropriate microphones would be used for recording each part of the orchestra properly and a good monitor system with a professional digital mixing and recording system would be essential. A compressor might be used if there are voices involved.
14. Where is the equipment set up for a session or live recording?
In a live session or recording the microphones will be set up in the recording area and the rest of the equipment, as in monitors, mixing desk etc.. will be set up in the control room which would be acoustically separate from the recording area.
15. How does the producer communicate with the conductor or performers in a session recording?
The producer only communicates with the conductor and not generally the performers through some kind of monitor/headphone/P.A system.
16. Does the producer communicate with the conductor or performers in a live recording?
The producer only communicates with the conductor during a live performance though generally the conductor would be left to conduct the orchestra as in general he/she would be professional enough to know exactly what they are supposed to be doing.
17. What does the producer do during a recording session?
During a recording session the producer ensures that the sound engineer(s) capture the session at the best possible quality. The producer is in charge of all aspects of the recording session such as: picking studios/recording space, additional musicians required, the type of recording process and how much budget is available for studio time.
Generally the producer may have a copy of the score for the performance in front of him during the session so he/she can follow the performance ensuring that each part is played and recorded adequately and also listen out for performance errors.
18. What does the assistant producer do in a recording session?
During a recording session the assistant producer would assist the producer by carrying out duties specified by the producer and would ensure that the details of timings, arrangements and takes are followed and keep track of each section of the piece as it was recorded. He/she would log all takes with a take number, which section has been recorded, where on the tape or other recording media the take starts and finishes as comment on the quality of each take.
19. What does the producer do during a live recording?
During a live performance the producer would liase with the recording engineer ensuring the mix and actual recording process is executed properly and maybe communicate with the conductor if need be though generally in a live performance the conductor is left to conduct the orchestra without communication with the producer.
20. How does the producer prepare for a recording session?
The producer prepares for a recording session by:
Selecting the right location for the recording.
Perhaps have an involvement in the selection of the orchestra and musicians.
Having an involvement in the selection of the engineer.
Liase with the conductor and engineer to plan the recording in terms of which parts are recorded when and the placement of the musicians in the recording space.
21. How does the recording engineer prepare for a recording session?
In consultation with the producer the engineer decides how the orchestra will be set out in the recording space.
Decide how many microphones will be used and which types.
Produce a plot of the musicians so his/her assistant(s) can set out the mics well before the session begins.
Specify the recording equipment to be used and, if necessary, arrange its hire.
22. How do orchestral musicians prepare for a recording session?
Orchestral musicians prepare for a recording session by learning their parts throughout the entire piece of music and being aware of the rest of the music in the piece.
23. What limitations are there for the producer in a live recording?
In a live recording everything has to be captured in one take and the producer cannot communicate with the musicians as the performance would be in front of an audience. Recording levels will have to have been set up in advance as there will be no room for errors of any kind.
24. What limitations are there for the recording engineer in live recording?
The engineer will have to have set everything up properly such as mic placement and recording levels as there would be no second takes or over dubbing, everything would have to be captured in one take with no room for error.
25. Does a live recording of classical music require a PA system?
Classical music requires no PA system or amplification.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
Additional space is required to house tv/video recording and broadcast equipment, microphones would have to be less visible plus the conductor and musicians may feel under slightly more pressure to perform well. The visual element of the performance would be even more important as would sound quality and the standard of performance.
27. How are microphones set up for solo instruments?
For solo instruments close microphone placement would be used. The mic(s) would be 1 to 3 inches away from the sound source making it less likely that unwanted sounds from other instruments would be picked up. Though this could be at the expense of picking up the natural reverb of the recording area so digital reverb may be used to compensate for this.
28. How is a microphone set up for solo voice?
A microphone would be placed directly in front of the singer, if it were a live performance the mic might be attached to the singers clothing so the mic is not so obviously visible. A compressor/limiter may also be sometimes be used when recording a voice.
29. How are microphones set up for chamber ensembles?
In order to capture the sound from a chamber ensemble individual mics for each instrument would be unnecessary as the ensemble is internally balanced. A cluster of 3 omni-directional mics would be placed in front of the musicians at about 3 metres high. The artistes may need to be spaced out (I mean moved apart and not drugged in some way) more to give clear stereo positioning.
30. How are microphones set up for orchestral music?
In orchestral music each solo instrument would have it own microphone and each section of the orchestra would have a pair of stereo microphones as not every instrument would require an individual mic.
31. How are microphones set up for music for chorus and orchestra?
Same as the answer above really, the chorus would be miced up with a pair of stereo microphones with additional mics for the different tonal ranges of the chorus.
32. How are microphones set up for opera?
Several omnidirectional microphones would be placed in front of the vocalists in the recording of opera.
33. How are microphones set up for a live recording of opera?
In the live recording of opera several omnidirectional mics would be placed around the singers as they may not stay stationary during the performance each vocalist would also be individually miced up.
34. Is classical music recording straight into stereo or onto multitrack?
Classical music is recorded straight to stereo or by use of a multitrack though the vast majority of classical music recordings are recorded directly into digital stereo onto DAT (digital audio tape). Often it is incumbent on the engineer and producer NOT to ruin a perfectly good performance with overproduction or any heavy handed processing.
35. If a multitrack recording is made of classical music, what format will be used?
If a multitrack is used it would be a high quality digital multitrack at 96 kHz and 24 bit though this can substantially increase the cost of the recording session.
36. Describe the conduct of a recording session.
During a recording session, once the recording equipment has bee set up properly, the piece of music will be separated into sections and played through so that the recording levels can be set. Then there will be a test take rehearsal and the recording process will begin. While it will be a lot more laid back than a live session professional conduct would generally still be required of everyone involved.
37. Describe rehearse/record.
Each section of the piece will be rehearsed and then recorded using multiple takes if need be. This process is continued until the entire piece has been recorded.
38. Describe the conduct of a live recording.
Before the live recording there will be a period of rehearsal so that the musicians all know their parts, this is very important as there is no room for any errors in the live performance as there can be no additional takes. So everyone must perform to the best of their ability and conduct themselves in a very professional manner (no room for messing about here!).
39. How much editing is involved in classical music recording?
There is editing involved though it is more important to get things right first time and not rely too much on editing, though most recordings have a certain degree of editing involved. Often it is incumbent on the engineer and producer NOT to ruin a perfectly good performance with over production and any heavy handed production. Most recordings are done in sections so they must be edited together.
40. How are decisions taken on the selection of takes and edit points?
The assistant producer will have logged each take and various details on the quality of each take so from this the producer can ascertain which takes should be used in the finished piece and suitable edit points within it.
41. Who performs classical music editing?
The engineer or producer might carry out the editing, or in some cases maybe a specialist in the field of classical editing may be brought in to do it.
42. What equipment is commonly used for classical music editing?
High end audio editing software such as Wavelab could be used to edit classical music along with some high quality monitoring speakers and equipment.
43. What problems are commonly found in editing classical music?
Recording in a large hall creates natural reverb so when a piece is edited you would have to be careful not to cut off the reverb which would make edit points rather clumsy and obvious. Also tiny variations in volume and tempo might well be an issue.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
If the acoustics of the hall are not up to scratch (though if at all possible these venues would not have been considered in the first place) then some digital reverb may be added to compensate for bad acoustics. Generally the only time a compressor is used is when there are singers involved.
Reverb could also be used in places to compensate for any cut-off of natural reverbs at edit points.
45. Discuss some of the technical difficulties associated with editing classical music such as this?
As in the answer to question 43, some technical difficulties that may arise in the editing of classical music might be: the cut off of natural reverbs may occur at edit points within the piece and preserving the volume dynamic over edit points and the preservation of compatible tempos between sections edited together.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
If the recording is being broadcast then the instruments are generally close miced, which would cut down the amount of ambient sound being picked up but capture more of the tonal ranges of the instruments. This would mean that some of the natural reverb created by the venue itself may be lost so digital reverb would be used to compensate for this.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recording session.
Some administrative duties the classical music producer or assistant might do in a classical music recording session:
Decide upon the venue and pay any fees involved.
Selection of musicians and payment for their time, including dealing with the musicians union.
Selection of the recording engineer and fees incurred.
Hiring of all staff and their payment details.
Planning of the recording itself and all takes involved, which takes to be used, the placement of the musicians in the recording space, decide which score is to be used with the help of the conductor.
Even stuff like handling refreshments and their purchase if it is a particularly long session.
Maybe even transportation details as in getting the equipment and musicians to the venue and the hiring of the equipment.
48. Classical music recording venues often differ from say pop recording venues. Briefly discuss some of the differences.
First and foremost, the main difference between a venue for the recording of classical music and pop is the size. An orchestra is much bigger than any pop band that has ever existed so the orchestra requires a lot more space.
A venue for recording pop bands would be soundproofed and acoustically dead and would rely on amplification of some kind whereas an orchestra recording classical music requires no amplification and relies on the natural acoustics of a large hall.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
An orchestral harp uses pedals, which can produce unwanted noise, which can be an issue when it comes to recording.
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
Compressors may be used for operatic singers, particularly soprano. Whilst classical singers train to even out differences between high and low notes (high notes tend to be higher than low notes) it can still be a benefit to use a compressor to control dynamic range. This particularly true of soprano voice which can be very loud in the higher register.
References:
www.operaomnia.co.uk/pages/recording%20guide.htm#recording
www.westonsound.com/article%201a.htm
www.users.globalnet.co.uk/~bunce/bal2.htm
www.dmxl.net/coursenotes/classicalmusicrecording.html
www.bbc.co.uk/music/parents/careersguide/production_engin/shtml
en.wikpedia.org/wiki/orchestra
_________________
AcousticalWeaponsDivision/Alex |
|
Fri Sep 09, 2005 10:36 am |
|
|
|
|
Polarman
Joined: 24 Jun 2005
Posts: 55
Location: Barbados |
| Music 1 |
|
|
1. Express the types of music typically played by an orchestra?
Orchestras often play classical music, film score, and arrangement from pop rock music etc but they can play any kind of music.
There are so many different types of music that are usually lumped in as "classical," there is no easy answer to this question. Below you find some categories you can find in classical music.
Medieval/renaissance music, Baroque instrumental works, Baroque choral works, Classical instrumental works, Romantic instrumental works, Lieder, Classical and Romantic choral works, operas, music written between 1900 and 1918, Music written between 1920 and 1945, Music written since 1945, piano concerti, violin concerti, symphonies, piano/harpsichord music, chamber music, modern chamber music, viola and cello concerti, violin and piano music.
2. List the instruments that may be used in classical music?
The most common groups in classical music are:
- Strings - violins, violas, cellos, double basses
- Woodwinds - flutes, piccolos, oboes, cor anglais, clarinets, bass clarinets, bassoons, contrabassoons
- Brass - trumpets, trombones, French horns, bass trombones, tuba
- Percussion - timpani, snare drum, bass drum, celesta, etc
3. Group some combinations of instruments that are used in classical music?
The terms duet, trio, quartet, quintet, sextet, septet, octet, and nonet are used to describe groups of two, three, four, five, six, seven, eight, and nine musicians, respectively. A group with more instruments is usually called an orchestra. A small orchestra is called a chamber orchestra. A symphony orchestra is a large body of several tens and often more than a hundred musicians, divided in groups of instruments
Some examples:
Piano Four Hands – two people playing on one piano
Duets - two persons playing instruments or singing together
String Trio - two violins and cello or violin, viola, and cello
String Quartet - two violins, a viola, and a cello.
Piano quintet - one piano, two violins, a viola and a cello
Wind quintet - flute, oboe, clarinet, horn and bassoon
4. How are voices combined with instruments in classical music?
Classical music it written with voices in mind. Instruments with different intonation and pitch are grouped together in soprano, alto, tenor and bass. The soprano is often the melody but each pitch could be treated as a melody. Maybe not so different from a rock band which have same different pitches.
5. Where is classical music generally recorded?
Classical music can be recorded in a Concert Hall, Opera House or in a church but there are orchestra recordings that has been done in places not intended for music in the first place. Mostly is recorded on location very often also during a live performance with an audience. The location is often chosen because of its characteristics in sound.
6. Who might be involved in classical music recording?
The different people involved could be the musicians, the conductor, sound engineer, sound assistant, possibly composer, producer, producer’s assistant, and the fixer. Then of course you have people helping with the logistics.
8. What abilities and qualifications would you think a classical music recording engineer need?
Well as always when it comes to recording you need a good ear and a big experience in listening to music. Here it is also important with experience in recording classical music. There is also a difference if the recording is multitrack or stereo recording two totally different projects. Understanding of acoustics is very important. He has to understand the structure and the dynamics of the piece being recorded.
9. Discuss the working conditions of a classical music recording session.
This depends of course of the contract all the involved parts have. Lot of this is regulated through the unions especially if the repertoire is standard. It also regulates overtime. Normally as always in music late working hours is common.
If it is a modern piece from a living composer the composer spends a lot of time there. Clarifying for the conductor and musicians what he meant when he wrote the piece. This process can result in changes and can be a long process if the piece is new since the musicians and the conductor is not familiar with the piece. Normally you get higher salary as musician if the piece is not standard.
If it is an old “hit” piece that should be played its more straight forward and it is the conductors work to interpret the work. Normally the musicians knows the piece before hand, they have all studied it in the conservatoriums. Maybe that’s one of the reasons that classical hits gets played more often than newer compositions, its cheaper…
10. Discuss the working conditions of a live classical music recording.
Everything is setup before hand. No mistakes are accepted. Everyone involved should have agreed that a recording is being done. Normally a lot is already recorded during rehearsals and the musicians are used that they are being recorded.
11. Discuss the way classical musicians work.
Classical musicians perform to a different kind 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. Some classical musicians compose their own musical scores.
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 centers, theatres, and music venues, to hotels and restaurants. Rehearsal rooms are often small and draughty. 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 practicing and rehearsing with the other members of an orchestra or choir before each performance.
Classical musicians can spend considerable time traveling and can be away from home for long periods.
12. What is "The fixer" in classical music recording?
The fixer is the orchestra contractor who hires the musicians, makes sure the recording session meets the union guidelines, and takes care of payroll, things of that sort. They tend to work with specific composers, but do move around as per the studio, job, schedule, etc.
13. What types of equipment are used in classical recording?
Microphones
Recorder (DAT, Computer etc)
Low-noise mic preamps
Phantom-power supply
Mic-stands and booms or fishing line, stereo bar, shock mount (optional)
Microphone extension cable
Headphones and/or speakers
Some times you also need
Power amplifier for speakers
Some kind of phase monitor
14. Where is the equipment set up for a session or live recording?
The microphones are set up where the orchestra is, the rest of the equipment can be in the same location as the musicians but then you need covered headphones to monitor. You will have to sit as far as possible from the musicians. Preferably you sit in a separate room to monitor you recording.
15. How does the producer communicate with the conductor or performers in a session recording?
The recording engineer/producer will communicate with the performers via audio and video links between the control room and recording area. But normally the producer doesn’t communicate with the musicians just talks directly to the conductor.
16. Does the producer communicate with the conductor or performers in a live recording?
If the conductor communicates at all he probably only communicates to the conductor.
17. What does the producer do during a recording session?
During the recording session the producer assist the sound engineer/conductor to get the recording in the direction its been decided. The producer is in charge of everything that has to do with recording like choosing location and musicians. In the end it is the producers responsibility that you get the right recording.
18. What does the assistant producer do in a recording session?
Assisting producer is the producer right hand. He/She can help with particle issues, come with advice and help the producer keep track of different takes.
19. What does the producer do during a live recording?
Mostly everything has been prepared. He/She can register things that can be better to the next performance and assist the recording engineer making sure everything sounds as planned.
20. How does the producer prepare for a recording session?
The producer chooses the location, the conductor and musicians. He builds a up team that can take care of all practical issues all the way down to parking lots and food.
21. How does the recording engineer prepare for a recording session?
The recording engineer decides what kind of equipment that should be used. Visits the location before hand test the sound of the room. Check how the equipment should be set up. If it is a well known piece he can listen to earlier recordings. He can also listen to recordings that have been done at the recording place before.
22. How do orchestral musicians prepare for a recording session?
Rehearse parts from the score, normally the piece should already been rehearsed with the orchestra but quite often the piece is site read on spot.
23. What limitations are there for the producer in a live recording?
All preparations must have been done before the performance. It’s possible that you only have one take.
24. What limitations are there for the recording engineer in live recording?
Everything has to be fine tuned before the performance. Mic´s positions and other arrangement must already have been made. All equipment must be checked before hand down to cable level because you only have one take. It’s even thinkable to run parallel recording setups as a backup.
25. Does a live recording of classical music require a PA system?
Depends on what you want to do. But normally you record directly from the hall.
Normally you want to catch the characteristics from the actual hall you are recording in and the hall is normally even chosen because of its characteristic sound to fit the recording.
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
When it’s recorded on video or broadcasted it is also important that the look is right. So maybe you cannot have you mics standing where you want them or have you cables hanging down from the roof.
27. How are microphones set up for solo instruments?
If you can’t get the right balance between the orchestra and the soloist you can add a spot microphone. If you are doing stereo recording you must make sure that the soloist appears at the right depth according to the orchestra. It’s also possible that you have to delay the signal from the spot mic since the spot mic is closer to the soloist then the mics recording the orchestra.
28. How is a microphone set up for solo voice?
You can place a mic in front of the singer. See question 27.
29. How are microphones set up for chamber ensembles?
Here in most cases it’s not necessary with individual mics since the ensemble is well balanced. You can use a cluster of 3 omni directional mics placed just in front of the musicians. The engineer has to listen to the stereo picture. It can be necessary to spread the musicians out to get a clear stereo positioning. If it is a chamber ensemble with piano move the ensemble and the mic to the silent side of the piano this will avoid the piano to leak into to ensemble microphones.
30. How are microphones set up for orchestral music?
It’s important to first check that the stage sound good if it doesn’t move the orchestra. This is of course always valid when you are doing recording where you are going to use the room, hall etc in your final recording. It also depends if you are doing a stereo or multitrack recording. Nothing has more effect on the production style of a classical-music recording than microphone placement, mic distance, polar patterns, angling, spacing, and spot miking all influence the recorded sound character.
There are different types of stereo microphone techniques like:
Coincident pair, spaced pair, near-coincident pair, baffled-omni pair or artificial head. Each type has different causes for the resulted stereo effect.
Basically, you can place two or three mics several feet in front of the group, raised up high. The microphone placement controls the perspective or sense of distance to the ensemble, the balance among instruments, and the stereo imaging. The recording distance is always shorter then the listen distance. Don’t place the mics where it sounds good live. The closer the mics are to the orchestra, the closer it sounds in the recording.
If the instruments sound too close, too edgy, too detailed, or if the recording lacks hall ambience, the mics are too close to the ensemble. Move the mic stand a foot or two farther from the orchestra and listen again.
If the orchestra sounds too distant, muddy, or reverberant, the mics are too far from the ensemble. Move the mic stand a little closer to the musicians and listen again.
Many record companies prefer to use multiple mics and multitrack recording for classical music. This gives more control of balance and definition and is necessary in difficult situations. Often you must add spot or accent mics on some instruments or instrumental sections to improve the balance or enhance clarity.
British Decca has developed an effective recording method using an 8 tracks
-record the main pair on two tracks
-record the distant pair on two tracks
-record panned accent mics on two tracks
-mix down the three pairs of tracks to two stereo tracks
31. How are microphones set up for music for chorus and orchestra?
A choir that sings with an orchestra can be placed behind the orchestra, miked with two to four cadioid mics. Or the choir can stand in the audience area facing the orchestra.
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"
Bruce Bartlett, http://www.tape.com/techinfo/mics.html
33. How are microphones set up for a live recording of opera?
In a live performance is probably trickier since the opera singers moves around. You can probably try omni-directional mics plus have each singer wear an individually wired mic.
34. Is classical music recording straight into stereo or onto multitrack?
Both depends on what end result you want. Normally it’s recorded straight into stereo.
Stereo miking is preferred for classical music, such as a symphony performed in a concert hall or a string quartet piece played in a recital hall. For classical-music recording, stereo methods have several advantages over close-mic methods.
For example stereo miking preserves depth, perspective, and hall ambience -- all when you use several close-up mics, panned into position. With a good stereo recording, you get a sense of an ensemble of musicians playing together in a shared space. Also, a pair of mics at a distance relays instrument timbres more accurately than close-up mics. Close-miked instruments in a classical setting can sound too bright, edgy, or detailed compared to how they sound in the audience area.
Another advantage of stereo miking is that it tends to preserve the ensemble balance as intended by the composer. The composer has assigned dynamics to the various instruments in order to produce a pleasing ensemble balance in the audience area. Thus, the correct balance or mix of the ensemble occurs at a distance, where all the instruments blend together acoustically. But this balance can be upset with multi-miking; you must rely on your own judgment (and the conductor's) regarding mixer settings to produce the composer's intended balance. Of course, even a stereo pair of mics can yield a faulty balance. But a stereo pair, being at a distance, is more likely to reproduce the balance as the audience hears it. Personally I like to listen to "classic" music where they have used multitrack recording and built a new world for the instruments.
35. If a multitrack recording is made of classical music, what format will be used?
You will probably use as high resolution as possible, 96 kHz 24 bit.
36. Describe the conduct of a recording session.
By the time of the recording session, the performers should be fully rehearsed. All too often time is lost during the recording session by rehearsing passages or discussing performance notes. Another common interruption of recording sessions is performer noise. It can be very frustrating for performers if an otherwise perfect "take" is made unusable due to noisy page turns or creaking choir platforms. To ensure that the sessions run smoothly it is helpful to try and instill the discipline required for recording during rehearsals.
The amount of recording time required will depend upon the type and length of the repertoire to be recorded and, of course, on the available budget.
When arranging recording sessions, it is important to take into account the preferences of the performers. Very few singers, for example, are at their best first thing in the morning and some performers only hit their peak in the middle of the night! A good recording company will accommodate these needs; and, incidentally, night-time sessions are also a good way of minimising traffic noise interruptions!
The key point here is that for a truly successful recording the performers must enjoy and be fully committed to their performance and anything which helps them to give of their best is worth considering - nothing comes across more clearly on repeated listening than musicians who are tired or who have been recording for too long.
The mechanics of the recording sessions themselves are very simple. They will normally be controlled by the recording engineer/producer. Typically, each piece will be performed straight through a number of times to obtain a good basic performance which will form the backbone of the version which appears on the final recording. Then certain sections of the piece may be repeated as "cover" for any flawed sections in the "backbone" version.
For professional CD releases a music producer is often employed in addition to the recording engineer to make detailed musical assessments of each take. For smaller-scale productions, this role is often taken by the recording engineer. Alternatively if there is someone who knows your repertoire and whose opinion you respect, they can often provide good advice to the recording engineer during sessions.
Pieces can be recorded in any order and assembled into the CD running order at the mastering stage. When deciding the recording order it is worth considering the workload of performers, especially singers. For example, if a tenor has a particularly demanding solo it is best to record this early in the sessions when his voice is still fresh.
37. Describe rehearse/record.
To ensure that the sessions run smoothly it is helpful to try and instill the discipline required for recording during rehearsals.
38. Describe the conduct of a live recording.
Everything should be calibrated and tested before hand. The audience can be informed that a recording takes place and are asked to be extra quite during performance.
39. How much editing is involved in classical music recording?
You want to keep the editing to a minimum but editing is pretty common in classical music up to every 30 sec or so… It’s a different matter to listen to a recording over and over again, than to a one time live performance, even small mistakes becomes bigger with time. The most perfect live performance will have slight mistakes. Most common is this among violinist who will have slightly different tuning irregularities.
40. How are decisions taken on the selection of takes and edit points?
Somebody can take notes on good takes like the assistant producer or sound engineer. Where this is impractical, it is also possible to evaluate CD copies of the session tapes and then mark edits onto a score for the editing engineer to follow at a later date.
41. Who performs classical music editing?
The sound engineer or/and the producer can do this but normally a professional editing engineer is brought in.
42. What equipment is commonly used for classical music editing?
Editing is carried out on a computer with all the takes from the recording sessions. Since the computer can give instant access to any part of the recorded material and thus enable easy comparison of takes, it is best to make editing decisions at the computer in conjunction with the editing engineer.
43. What problems are commonly found in editing classical music?
A perfect edit is one where the takes which are to be edited together have identical pitch, tempo, dynamics, phrasing and musical balance. To this you have to add the natural reverb from the location. This is an extremely rare occurrence, and to choose which take to use and where to make edits can be a very time-consuming process.
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
Well from the purist view recording an orchestra is to actual capturing the most natural sound. Nowadays is getting common to record orchestras almost like a band with lots of microphones, spot mics, post production, editing and multitrack recording. See for example Munkacsis and Riesmans who records Philip Glass or Frank Zappa´s recording of London Symphony Orchestra where he had 30 to 40 mics. They don’t even pretend to render a realistic sound. They are creating their own aural landscapes.
45. Discuss some of the technical difficulties associated with editing classical music such as this?
If you have used a lot of processors and have added a digital reverb the editing becomes much easier. You have more control of the sound and you don’t have to take the natural reverb into calculation.
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?
When you are doing a broadcast you want to get rid of the noise from the audience and put the mics closer to the musicians. What you loose is the natural reverb, to compensate for that you add some digital reverb.
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
You can see the producer as a project manager. He is responsible for the project from start to finished recording. There are of course a lot of administrative tasks connected to this:
Selecting the location for the recording.
Where should all people eat, park etc?
How is the communication getting to and from the location?
Corresponding part to the musicians union
Paying salaries
Deciding working hours
Selecting recording engineer
Make sure deadlines and budgets are met
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
The venue for classical music is often bigger since you are doing recording on a whole orchestra. The venue is also normally chosen because of its sound characteristics. The venues for pop band are much smaller and normally in a sound proof room in a recording studio.
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
The sound of a harp is relatively quite to the rest of the instruments. The problem you get when trying to put a close mic is that the player changes tuning with a pedal that makes noise. You can to try to wrap a mic in a cloth and jam it into one of the harp sound holes.
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
As always it depends on what we mean by classical music. But my view and no experience is that traditionally you should not use compressors in the recording. The reason is that in a classical piece the dynamics changes a lot that’s the whole point. The musicians and singer are trained to have the right dynamics. Classical music is normally recorded in orchestra halls and not in silent room and the risk when using compressors is that you get a lot of noise, traffic sounds, birds etc in the silent parts.
_________________
http://www.filmscoremonthly.com/articles/1998/23_Jan---This_News_Friday.asp
http://www.careersnorthwest.com/career_directory/profile.aspx?id=4136
http://www.faqs.org/faqs/music/classical-faq/
http://www.users.globalnet.co.uk/~bunce/bal2.htm
http://encyclopedia.laborlawtalk.com/Orchestra
http://www.saecollege.de/reference_material/pages/Other%20Str%20Inst.htm
http://www.lewrockwell.com/edmonds/edmonds258.html
http://www.amazon.com/exec/obidos/tg/feature/-/26464/102-2121806-7983301
http://www.classicalarchives.com/faq_recording.html
http://www.enjoythemusic.com/superioraudio/guiltypleasures/0904/
http://www.users.globalnet.co.uk/~bunce/bal3.htm
http://harada-sound.com/sound/handbook/process.html
http://www.tape.com/Bartlett_Articles/stereo_microphone_techniques.html
http://www.music-recording.com/index.cfm?id=2647
http://www.bbc.co.uk/radio1/onemusic/management/sessionp09.shtml
http://hometown.aol.co.uk/mikebeville/myhomepage/aboutme.html
http://www.learndirect-advice.co.uk/helpwithyourcareer/jobprofiles/profiles/profile1312/
http://encyclopedia.laborlawtalk.com/Musical_ensemble
http://www.ransom-recording.co.uk/recording%20techniques2.htm
http://www.symf.se/minitariff.html
http://www.virtualsheetmusic.com/Ensembles.html
http://www.bbc.co.uk/radio1/onemusic/management/sessionp11.shtml
http://www.dolmetsch.com/index.htm
http://www.soundonsound.com/sos/feb02/articles/cheshire0202.asp
http://www.bls.gov/oco/ocos095.htm
http://www.operaomnia.co.uk/pages/recording%20guide.htm
http://mixonline.com/mag/audio_changing_landscape_orchestral/index.html
http://www.faqs.org/faqs/music/classical-faq/
http://www.tape.com/Bartlett_Articles/stereo_recording_procedures.html |
|
Sun Sep 11, 2005 12:08 am |
|
|
AndyBarber
Joined: 09 Sep 2005
Posts: 18
Location: North Wales |
| TR QUESTIONS WEEK1 ANDY BARBER |
|
|
WEEK1 RECORDING TECHNIQUES QUESTIONS
ANDY BARBER
1. Opera (drama set to music; consists of singing with orchestral accompaniment and an orchestral overture and interludes)
Choir (chorus that sings as part of a religious ceremony)
Musicals (play in which songs and music are an integral part of the dramatic structure)
Concerto (piece in which an instrument or ensemble contrasts with an orchestral ensemble)
Film and TV
Chamber music
Classical (music written chiefly for concerts, religious services, opera and ballet)
(music for groups of instruments)
( Classical music varies greatly. Many compositions are extremely long and have a variety of tempos (speeds) and styles. Others are short and have the same tempo and style throughout. Some classical music deals with a specific subject. For example, it may tell a story, express an idea, or describe a mood.
HISTORY
Medieval (before 1450)
Renaissance (1450-1600)
Baroque (1600-1750)
Classicism (1750-1820)
Romanticism (1810-1910)
20th Century (1900-present)
Modern (1945-present)
2. Accordion Alpenhorn Balalaika Banjo Baryton
Bassoon Celesta Cello Cembalo Clarinet
Claves Contrabassoon Cornet Cymbals Double Bass
English Horn Flute French Horn Gamba Glass
Harmonica Gong Guitar Harmonica Harp
Harpsichord Horn Jagdhorn Lute Mandolin
Oboe Piano Piccolo Recorder Saxophone
Snare Drum Sousaphone Timpani Triangle Trombone
Trumpet Tuba Viola Violin Violoncello
Xylophone
3. STRING SECTION (12 OR MORE PLAYERS)
- 1st and 2nd violins
- violas
- cellos
- double basses
- harp
- guitar
WOODWIND SECTION
- picalo
- flutes
- Cor Anglais/English horn
- Oboes
- Clarinets
- bass clarinet
- Bassoons
- Contrabassoon
BRASS
- trumpets
- trombones
- tuba
- HORNS
- Sousaphone
- Saxophone
- Cornet
PERCUSSION
- Cymbals
- Snare Drum
- Timpani
- Triangle
- Xylophone
KEYBOARD INSTRUMENTS
- Piano
- Organ
4. There appears to be two kinds of classical music
- instrumental music (1 instrument, small ensemble or orchestra)
- vocal music (can be written for 1 singer, several singers or a large chorus)
Many works of classical music combine both instrumental parts and vocal parts. Voice instrumental music is the term used for compositions and improvisations for the human voice. This kind of music treats the human voice as an instrument just like the violin or the piano. It involves a class of singing which does not use words. In these cases the voice is normally being used as if it is a musical instrument with the mouth producing timbre and rhythm.
5. Majority of commercial classical recordings are made on location
- Concert/symphony hall (cultural building, performance venue)
- Large Recording Studio (acoustically enhanced)
- Front pit at the theatre
- Churches/Cathedral
- Outdoor stage (ie. proms in the park)
Finding the right acoustic for a particular recording is probably the most important single stage in determining the quality of the final recording.
6. Technical, organisational and logistical issues.mobile recording unit, with van/driver.
-Sound engineer ( setting up of microphones, recording equipment)
- Producer
- Acoustician Engineers
- Musicians/performers
- Roadie (setting up of instrumental equipment)
8. Operate and maintain recording and effects equipment
Install, test, repair, set up and operate the electronic equipment
Good at balancing sound produced by performers with the reverberant response of the performance space.
Good communication skills with all involved
Control Precision The ability to quickly and repeatedly adjust the controls of a machine or a vehicle to exact positions.
Hearing Sensitivity The ability to detect or tell the differences between sounds that vary in pitch and loudness.
Auditory Attention The ability to focus on a single source of sound in the presence of other distracting sounds.
Near Vision The ability to see details at close range (within a few feet of the observer).
Oral Comprehension The ability to listen to and understand information and ideas presented through spoken words and sentences.
Information Ordering The ability to arrange things or actions in a certain order or pattern according to a specific rule or set of rules (e.g., patterns of numbers, letters, words, pictures, mathematical operations).
Selective Attention The ability to concentrate on a task over a period of time without being distracted.
Time Sharing The ability to shift back and forth between two or more activities or sources of information (such as speech, sounds, touch, or other sources).
Wrist-Finger Speed The ability to make fast, simple, repeated movements of the fingers, hands, and wrists.
Written Comprehension The ability to read and understand information and ideas presented in writing.
9. Generally work indoors
May have to do heavy lifting
Restricted studio time. may have to work to deadlines/have to put in long hours
Confer with producers, performers, and others in order to determine and achieve the desired sound for a production
Regulate volume level and sound quacity dur.ng reco:ding se6sions, :sing coutrol consoles.
c Separa:e instroments, eocals, _nd othec soundsI then cnmbine s unds later during the mixing or post-production stage
Can record as many separate sections as required/fit together afterwards
Kees logs on record(ngs
n0. As {bove;
eHave th¬ equipm1nt set 7p and s8und chezked prilr to thm audienCe beingelet in nd the performance starting
Maybe no separate studio for monitoring and mixing
Regulate volume level and sound quality using rooms*natural1acousti's rathec than mznitors ln a seôarate riom
Wiël only ne able Mo recorr one ta=e as it6 live!
2
1l. All members of an orchestra have there own music scores for a particular rendition. Led by the composer they all play their own parts(in the mrder spccified..Often s:parated>into se:tions au descrined in qcestion :. All woll havegpractic_d beforc hand aId know the piece well. Before a performance each has to have their specific instrument tuned and ready to play. General warm up will be covered before the main performance to ease them in and check for any bugs/faults. Players use authentic well-tempered modern iåstrumen¢s
12m DraftscHand pi.ks the :usician6 for a :pecificusessionl??
s3. Mus:cal Insïrumentse
Large_Multi-ccannel mixing desk (mixers)
Sound processors (reverb, EQ, compression)
Monitors
Loudspeaker stands
Analogue and Digital stereo r²cordersl
Microâhones
sMic prenamps
/D Convnrters
zMic staeds
Mi( cables9
Cable3
Ampl8fiers
rDAT maclines
migging ropes
Talkback telephones
CCTV
Cue lights
14. After selecting a good location the orchestral section will be decided onkfirst aId setuplaccordi
g to th9 number of musicians anp instrulents reVuired. ihe variius difforent se tions w ll be gouped together. Clarity and separation of the parts is needed and large setups may require staging. Additional acoustic treatment may bl requir d if innstudio.yMinimum-amount Ef noise0possibl Record
ng equiament (mecs etc)äwill be setup fdr each onstrume]t and fYd to thP main c!ntrol r om and 2roducero A sepaeate conqrol roo' for thf producwr is proferable.for optemum mix4ng.
1
15. Often there is no visual contact between the stage/musicians and the control room. If so the producer will keep contact using CCTVlor talktack sysiem (mickon prodîcer fedeto moni0ors)
"16. Aft0r the i6itial sstup and/sound c/eck the0e will re very :ittle if not no contact between the producer and the orchestra once the live show has started. A producer couldn’t stop the show in the)middle f “Cats7 becauso he wasegettingsnoise f'om an eftra’s muc!
1o. The p.oducer eust com4unicate1with th: conduc/or and engineer during the recording. Sound quality, quality of performance and performance errors must all be monitored and re-recorde: until a good tcke is a'hieved.oProduce0 must k2ep trac/ of whai is beieg recorded and ake surl nothine has be_n misseY out. All takes must be logged with take number and any additional information about the take.
Functions as CREATIVE LEADER in any studio
18. Producers right hand man. Handles details for the producer such as contracting talent (musicians/vocalists) for spssions,8schedulang studao time,'placingotelepho0e calls2 sendin/ e-mailc ensurigg everydne is acare of lhen andewhere t_e session will be held, assisting on the session, setting up the equipment in the studio for a session and/or returning it to its prope: place /fter thi sessioy.
1a. Maintnin best'possibla qualith of rec rding t roughou0 live p4rformanse. Keep/an eye /n equipment errors, continuity and sound levels. Follow performance keeping a log on what has been recorded and where it is saved.
_
20. ThY producvr super)ises al aspect3 of theorecordieg proceqs inclu'ing confractingusessionoplayers.and oveeseeing 4he recording budget. A producer may also help the artist select songs to be recorded. He must have a solid understanding of what he wan/s the r cordingxto soun: like, ihat neeas to be'recordeo and whpt equip2ent he /eeds toado the mob.
d1. Resp nsible lor setting up equipment in the studio prior to the session, and discussing with the producer or musical act what they want for the end product to sound like. Recording engineers run the recording session with oversight from the producer. They also operate the soundboard and other electrical equipment during the recording of music. .
22. All classical musicians in the UK must be a member of the musicians union. Practice alone and with the orchestra and conductor must be satisfactory so they are capable of playing the music required for the session. Their instrument must be playing correctly and must be tuned with the other instruments before recording can commence. Must have the stamina to play for 2 to 3 hours. Must turn up on time.
23. Being live basically means he has to do everything in one take. Once recorded, any errors will have to be removed with post recording techniques.
24. Before recording live the engineer must be certain all equipment is set up correctly. Once recording has started it will not be possible to alter any of the equipment, mics to monitors.
25. Live recording in an acoustically sound environment such as a large hall or cathedral shouldn’t required a PA system. A rich blend of all the instruments would be heard by each musician and especially the conductor who basically stands in the middle. The audience in such a venue shouldn’t require additional amplification either.
26. When on video or TV there is less demand on the quality of the sound recording. The visual component is so strong, it lessens the impact of the audio allowing mistakes and poor quality to be overlooked. Correct syncing of the audio and visual components is paramount
MICROPHONE SETUPS
Nothing has more effect on the production style of a classical-music recording than microphone placement. Milking distance, polar patterns, angling, spacing, and spot miking all influence the recorded sound character.
27. SOLO INSTRUMENTS
This is the most simplest case of recording. The further the microphone is placed from the instrument being recorded, the lower will be the energy of the sound wave reaching it, and the higher will be its pickup of ambient noise. Too close to an instrument, however, there will be an increase in mechanical noise such as key clatter or bow scrape. Generally a cardioid microphone should be placed several feet from the sound source. In some cases, the optimum position may not even be in front of the player - for instance, the flute may benefit from a microphone placement behind the player.
28. SOLO VOICE
In order to naturally reproduce the vocal sound of a classical singer, the microphone should not be brought too close to the mouth - generally a distance of greater than 1 metre is recommended. Pop shield may be required to reduce sibilance.
29/30. CHAMBER ENSEMBLES/ORCHESTRAL
Stereo microphone techniques are used mainly to record classical-music ensembles and soloists on location. These methods capture a sonic event as a whole, typically using only two or three microphones. During playback of a stereo recording, images of the musical instruments are heard in various locations between the stereo speakers. These images are in the same places, left-to-right, that the instruments were at the recording session. In addition, true-stereo miking conveys:
depth or distance of each instrument
distance of the ensemble from the listener (the perspective)
spatial sense of the acoustic environment--the ambience or hall reverberation.
( must preserve the ensemble balance as intended by the composer)
31. CHORUS AND ORCHESTRAL
Record as required for standard orchestral with additional spot mics for individual singers (solo voices) being recorded down to a multi-track recorder
32. OPERA
Requires more complex recording
Spot-mike everyone singing
Record on multi-channel recorder
Mix result down to stereo later
Use small directional (supercardioid) moderately close to each singer
Again too close can create breath noises and "popping" problems
33. OPERA LIVE RECORDING
If live, the sounds created are broadcast straight to an audience similar to live ensemble/orchestra. Therefore the same mic techniques would also be used to record live opera.
34. Single-point stereo microphone recording of classical music, or multiple microphone/track use? The principle of binaural recording is to replicate the way our ears capture sounds, and replay those sounds directly into the corresponding ears
Multi-track recording utilises many mics. Each mic signal is split and is sent to back stage recording console. Splitting mic signals enable a superior recording without worrying about levels in the house. Leaves more flexibility for post production techniques
35. Majority of classical recordings are recorded directly in digital stereo, onto DAT (digital audio tape), CDR (compact disc record able), computer hard disk or magneto optical recorders. More complex recordings are recorded onto multi-track (as suggested there are more tracks available than a traditional digital stereo (2 track) recording). All recordings should be at the highest quality digital format available, preferably 24-bit resolution, 96KHz sample rate
36. Performers fully rehearsed
Min 60 minutes material ready to record
Minimise performer noise
Amount of recording time required will depend upon the type and length of the repertoire to be
Recorded (1 or 2 days usually required)
For successful recording the performers must enjoy and be fully committed to their performance
Careful don’t record for too long (tired musicians)
Session controlled by recording engineer/producer (communication via audio and video links). Typically, each piece will be performed straight through a number of times to obtain a good basic performance forming the backbone of the version which will appear on the final recording. Any unsatisfactory sections will then be re-recorded in any order as required.
37. Rehearse/record is the primary test run for the recording equipment. Recording the entire orchestra ensuring a satisfactory recording is possible and all glitches are ironed out before the serious full length recordings begin
38. Once all equipment and sound levels are ready to go the producer will notify the conductor they are ready to record. After this point the live session is controlled by the conductor, the music will be recorded in one take and unsatisfactory sections won’t be able to be re-recorded. If recording is going to CD the order of each track when mastering is pre-determined
39. Amount of editing required will depend on the length music required for the finished CD. More takes means more editing. First time exact recordings are rare so time is needed to cut, paste and decide which are the best edits to use.
40. Only the best sections from each take of particular piece are joined together to form one "perfect" version of the piece. New technological developments with digital editing make it possible to have an edit every few seconds.
41. Usually specialist called an Editing engineer. With lower budget schemes editing will be done by the producer or recording engineer
42. A computer is now used to carry out editing. All tacks from the recording session are pre-loaded into the computer. Computer can easily select and edit any part of any take very quickly and effortlessly. Easy comparison between different takes makes it easy to select the best one.
43. A perfect take all the way through each song for every instrument is not common place. Getting sections of takes together which have identical pitch, tempo, dynamics, phrasing and musical balance can pose some problems. Serious editing problems would include;
Not having any good edits for particular section
Accidentally loosing edits (system errors, viruses, accidental deletions)
Not realizing particular instrument has been recorded badly (error in Rehearse/record)
44. Yes sometimes, they can add life" to the sound of a dull recording venue if required
Compressors Needed to control dynamic range
Used for opera singing (esp. soprano)
Higher notes are louder than quiet notes
Reverb Only required if venues acoustics are poor
Performers can’t hear any improvement due to effects whilst they are performing
Therefore best not to rely on electronic reverberation too heavily
Gating Noise gates can remove unwanted sounds
With the correct gate settings, you can ensure that you have absolute silence with no annoying background hiss. Can even be used to cut off a reverb's tail end, handy again for poor acoustic venues
45. If a recording has been made using effects processors at the source rather than after recording, post production editing is further restricted as they have no clean signal to work with
46. Using reverb in a session being broadcast will make set-up easier allowing an acceptable result more easily
47. The producer supervises all aspects of the recording process including contracting session players and overseeing the recording budget. Help artist select songs to be recorded. Assistant handles details for the producer such as contracting talent (musicians/vocalists) for sessions, scheduling studio time, placing telephone calls, sending e-mails ensuring everyone is aware of when and where the session will be held.
48. Pop venues rely on serious amounts on amplification and large PA setups to get the music to the audience. Some pop musical instruments aren’t acoustic (I.e. guitars keyboards) and require amplification in order to be heard. Room acoustics are less important at such venues. In classical music all of the instruments being played are acoustic. The sound is required to reach the audience with no amplification. Therefore classical venues require a higher standard of room acoustics.
49. String instruments such as pianos, violins and guitars have a sound box. This is a hollow body which acts as a resonating chamber. This helps with reverberation, volume and direction. Harps don’t have this making recording less accurate. Sounds from multiple strings aren’t mixed together to create a warmer fuller sound. The direction of sound produced will be more spread out and in all directions.
50. During live recording a compressor wouldn’t be used. The dynamics of an orchestra lead by a conductor are very diverse and sensitive. Unlike, say dance music, the volume of various sections in a piece will vary dramatically and are very important to create different atmospheres. If recorded in a studio with instruments recorded on separate tracks a little compression might be used in post production
REFERENCE
http://www.berklee.edu/careers/mpe.html
http://bubl.ac.uk/link/m/musiccomposition.htm
http://www.classicol.com/classical.cfm?music=Educational
http://www.surrey.ac.uk/soundrec/php/location.php
http://www.fifthcircle.com/listen.html
http://www.operaomnia.co.uk/pages/location%20recording.htm
http://jobprofiles.monster.com/Content/job_content/JC_Entertainment/JSC_Music/JOB_RecordingEngineer/jobzilla_html?jobprofiles=1
http://www.tape.com/Bartlett_Articles/stereo_microphone_techniques.html
COMOUTER MUSIC ISSUE 79
Think i'll have to re-wax my surf board 8O |
|
Sun Sep 11, 2005 8:43 am |
|
|
|
|
K
Joined: 12 Apr 2005
Posts: 10
|
|
|
|
1. Express the types of music typically played by an orchestra?
ANSWER: music typically played by an orchestra would be classical music. also an orchestra would play soundtrack music to films.
2. List the instruments that may be used in classical music?
ABSWER: violin,viola,cello,double bass,flute,obeo,clarinet,bassoon,saxophone,english horn,trumpet,trombone,tuba,french horn(horn),tympani(kettle drums),side drum(similar to snare),cybels,large bass drum(not kicked),triangle,wood blocks
3. Group some combinations of instruments that are used in classical music?
ANSWER: violin family, brass section, woodmind, precustion
4. How are voices combined with instruments in classical music?
ANSWER: voices are combined with instruments in classical music by a choir or/and a soloist
5. Where is classical music generally recorded?
ANSWER:classical music in generally recorded in large bulidings such as a church, theathre, hall. because the size of the room adds natural reverb and allows the orchestra to have better dinamics
6. Who might be involved in classical music recording?
ANSWER: orchestra , producer, assistant producer, sound enginear , possibly an assistant sound enginear , conducter would be invloved in a classical music recording
7. n/a
8. What abilities and qualifications would you think a classical music recording engineer need?
ANSWER: as well as a love for classical music the sound enginear must have a fine tuned ear.a degree in classical music would help. experence in field recodings would be essential because it is a specialist area.
9. Discuss the working conditions of a classical music recording session.
ANSWER: a classical recording would be help in a studio using a computer, hard disk recorder or using tapes
10. Discuss the working conditions of a live classical music recording.
ANSWER:recording classical music live the enginear would use a mobile recding desk, hard disk or tape. the venue would have to be try and tested for microphone placement before the orchestra begins. all aspects of the venue would need to be takin to to consideration. ie size , reverb , outside noise influence
11. Discuss the way classical musicians work.
AMSWER: classical muicians that are in a profestional orchestra wouls be highly trained and skilled and profisicant at there instuments. they would have worked on a piece together for possibly mouths before recording so they will be very well prepaired. as an orchestra they learn to interact together and have the ability to create large dinamics in a piece of music
12. What is "The fixer" in classical music recording?
13. What types of equipment are used in classical recording?
ANSWER: condencer and dinamic microphones with cardioid and omni directional paterns. mobile recoding unit such as hard disk recorder or tape if field recording . if studio recording the use of screens would be important to seperate the different sections. in a studio recording the music would be recorded on to a computer, hard disk recorder, tape
14. Where is the equipment set up for a session or live recording?
ANSWER: in a live recording the equipment is set up tawards the back of the hall or venue and facing the musicans if possile due to shape and size of venue
15. How does the producer communicate with the conductor or performers in a session recording?
ANSWER: in a perfect situation the producer would be at the miixing desk with the enginear listening to the overall sound and would communicate with a talk back microphone to the conducters head phones and the conducter would communicate with the preformers
16. Does the producer communicate with the conductor or performers in a live recording?
ANSWER: no because the producer would not intrerupt the live recording
17. What does the producer do during a recording session?
ANSWER: during a recording session the producer is over looking everything and making sure its all going acording to plain
18. What does the assistant producer do in a recording session?
ANSWER: the assistant producer aids the producer in the over all runings of the session .ie working more closly with enginear on the recording side of things while the producer loos after the orchestra
19. What does the producer do during a live recording?
ANSWER: during a live the recording the producer makes sure that it runs smoothly and makes sure its at the level he wants
20. How does the producer prepare for a recording session?
ANSWER: the producer repares for a recording session by booking the studio or venue , books the orchestra and conducter, finds a suitible and quilified enginear and possily an assisant enginear. decides on length of recording session . may have a meeting with enginear and conducter before hand . will decided on the type of recording setup .ie microphone placement , the use of a hard disk recorder or tape
21. How does the recording engineer prepare for a recording session?
ANSWER: in conjuction with the producer the type of recording setup wil be decided . the enginear will get the nessary equiptment ie . mobile recoding unit , microphone etc. will do out track lists . he/she will possible go to the venue to check the aquesticspossibly in conjuction with the enginear
22. How do orchestral musicians prepare for a recording session?
ANSWER: the orchesrta prepare by rehearsing as a unit and on there own . possibly have a rehearsel in the venue before the actual recording session
23. What limitations are there for the producer in a live recording?
ANSWER: unless they have rehearsed they will not be able to experiment with microphone placement to the degree they would like. during a like recording they will not be able to stop and start again
24. What limitations are there for the recording engineer in live recording?
ANSWER: he/she would not be able to experiment with things such as microphone placement
25. Does a live recording of classical music require a PA system?
ANSWER: no because an orchestra has a natural dinamic witch will fill most concert halls
26. Are there any additional problems caused if a live recording is also recorded on video or broadcast on television?
ANSWER: there would be more equiptment and more limitations for the audio enginear because of broadcast requirments and tv requirments and there would be more people with different interests
27. How are microphones set up for solo instruments?
ANSWER: microphone placement for classical music ingeneral is intirely subjective and is baseb on numeris factors so there can be no definitive answer to microphone placement but it could be : close micking tawords the instrument or using the microphone that has bein alokated for the section
28. How is a microphone set up for solo voice?
ANSWER: as a rule close micing for voice
29. How are microphones set up for chamber ensembles?
ANSWER: one microphone for panio, one microphone between two violins , one microphone between viola and chello and one cardioid microphone ferther back infront of the ensemble
30. How are microphones set up for orchestral music?
ANSWER: two ways of setting up microphone for orxhestral music are sterio pair positions in front of the orchestra or one microphone per section and sterio pair in front . plus using one of the above answers microphones could be placed around the hall in certain positions to cabture reverberation and overall ambience
31. How are microphones set up for music for chorus and orchestra?
ANSWER: using any of the above and a pair of microphones on the chours
32. How are microphones set up for opera?
ANSWER: close micing for all soloists
33. How are microphones set up for a live recording of opera?
ANSWER: any of the avbove . microphones would be set up on the front of the stage to pick up vocals
34. Is classical music recording straight into stereo or onto multitrack?
ANSWER: both can be used . for pure represation of the orchestra sterio recording would be used. but multi track recording is quite comanly used in recording these days
35. If a multitrack recording is made of classical music, what format will be used?
ANSWER: anolog or digital hard disk. digital would be prefreble due to lack of his and noise level
36. Describe the conduct of a recording session.
ANSWER: set up and testing of equiptment , rehearsel of orchestra and recording
37. Describe rehearse/record.
ANSWER: the orchestra will rehearse music and the enginear will test the right levels for the microphones and once everyone is happy the recording will begin
38. Describe the conduct of a live recording.
ANSWER:
39. How much editing is involved in classical music recording?
ANSWER: depending on the recording and setup none or a huge amount
40. How are decisions taken on the selection of takes and edit points?
ANSWER: the producer will listen back to the recording and with the enginear will decide what parts to edit
41. Who performs classical music editing?
ANSWER: the enginear and the assistant enginear will preform the edits
42. What equipment is commonly used for classical music editing?
ANSWER: if its a tape recoding the tape will be cut with a tape splicer. if its a hard disk recording and an editing program will be used
43. What problems are commonly found in editing classical music?
ANSWER: finding perfect edit points because such a large scale of intruments are playing
44. Are processors and effects such as compression/reverb/gating etc. ever used in classical music recording?
ANSWER: no 99% of the time except for a certain effect by a producer in an experamental way
45. Discuss some of the technical difficulties associated with editing classical music such as this?
ANSWER: finding perfect edit points because there is such a large scale of instruments playing
46. Often a digital reverb unit can be utilised for recording classical music for broadcast? Why is that?.
ANSWER: for broadcast this can be done to add a spisific ambience and ovel all texture to the sound
47. Indicate some administrative functions that a classical music producer or assistant producer might do in a classical recoding session.
ANSWER: the rights of the song , pay everyone involved , hire the hall or studio or venue, be in contact with the musicans as per recording session
48. Classical music recoding venues often differ from say pop recording venues. Briefly discuss some of the differences.
ANSWER: a big vneue would be needed for a classical music recording for a natural room sound , with pop close micing would be used
49. Orchestral harps, (besides the sound of the strings) can be tricky to record, why is that?
ANSWER: because the sound board is close to the bottom of the harp
50. Would you think a compressor would be used in classical music recording? Discuss your answer.
ANSWER: no because an orchestra has its own natural sound and because orchestras are capabil of huge dinamics and a compresser would nulafi and take away form these dimanics |
|
Sun Sep 11, 2005 10:37 am |
|
|
AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
|
| Summary |
|
|
OK guys a good start generally with some good detailed answers.
Detail is the key here and you should answer them in an open way leaving room for expansion.
There are also a few differing opinions here between certain questions and I'd like you all to double check your own work against eveyone elses..
An example would be how a producer DOES communicate with a conductor... - a headset is used to inform the conductor of key start and start moments...
Also working conditions, there are differences between you all.
I'd like to start to see some interaction between you now and responding to each others posts.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
|
|
Fri Sep 16, 2005 6:42 am |
|
|
|
|
Kepano
Joined: 06 Jan 2005
Posts: 4
|
| | | |
