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[Feature] Although there are many ways to approach classical music recording and mixing, it is the end result that is truly important—a mostly accurate capture of a large ensemble that generates a compelling listening experience. I say “mostly accurate,” as in certain cases we may be trying to present an enhanced experience, with a “larger than life” presentation. Extra-low-frequency content, a wider perspective, more reverb, and clarity in low-level details and slightly exaggerated solo balances are all important areas of attention in modern recording. This stems from the very practical problem of trying to capture the experience of listening to a full orchestra in a great hall and then reproduce it over medium-quality loudspeakers or a pair of inexpensive headphones.
Author:
King, Richard
JAES Volume 63 Issue 4 pp. 303-304; April 2015
Publication Date:
April 2, 2015
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Andreas Klein |
Comment posted April 2, 2015 @ 21:29:46 UTC
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A wonderful introduction to recording a large ensemble! Unfortunately, no specifics or details have been mentioned. So this contribution to the discussion of how to record classical orchestras is really just a starting point. At this time, I'd like to offer a comment on the last paragraph, "Using close microphones as the principle audio capture": perhaps this "method" is best reserved for sound-for-movies. Even though it offers the producer/engineer excellent over balance and input control, this approach takes away the natural balance which the conductor wants and rehearsed and enables the engineer to "play God" as (s)he can slide faders and turn knobs setting up their personal preferences. This is a dangerous style and might just work very well only, if the conductor and production team have the same musical understanding. I personally adher to the approach "Record as if you would listen to it". (Respond to this comment)
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Iker Olabe |
Comment posted April 15, 2015 @ 16:44:55 UTC
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The article offers a great introduction to the art of classical music recording and a very well layed out parallelism with cooking. I would like to add some further general ideas. An orchestra is a sum of sound sources and uses the concert hall as an acoustic / resonance box. Orchestra players adjust musical dynamics with respect to direct sound pressure level received by their instrument and reflexions received in the concert hall. A main stereo recording approach is more difficult and risky but will be the "main shot" of the orchestra. If the reverb radius of the hall is known before hand a good starting point position can be predicted. When engineering an orchestra recording two main routes can be taken : mixing - "main system to spot mics" or - "spot mics to mains" Having said this once more, I appreciate the very well put together introduction to this branch of sound recording which Richard King has published. With best regards Dr. Msc. MA. Iker Olabe |
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