Atnaujinkite slapukų nuostatas

Classical Recording: A Practical Guide in the Decca Tradition [Minkštas viršelis]

4.53/5 (19 ratings by Goodreads)
, ,
  • Formatas: Paperback / softback, 410 pages, aukštis x plotis: 235x191 mm, weight: 745 g, 10 Tables, black and white; 142 Line drawings, black and white; 96 Halftones, black and white; 238 Illustrations, black and white
  • Serija: Audio Engineering Society Presents
  • Išleidimo metai: 27-Oct-2020
  • Leidėjas: CRC Press
  • ISBN-10: 0367312808
  • ISBN-13: 9780367312800
Kitos knygos pagal šią temą:
Classical Recording: A Practical Guide in the Decca TraditionDidesnis paveikslėlis
  • Formatas: Paperback / softback, 410 pages, aukštis x plotis: 235x191 mm, weight: 745 g, 10 Tables, black and white; 142 Line drawings, black and white; 96 Halftones, black and white; 238 Illustrations, black and white
  • Serija: Audio Engineering Society Presents
  • Išleidimo metai: 27-Oct-2020
  • Leidėjas: CRC Press
  • ISBN-10: 0367312808
  • ISBN-13: 9780367312800
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780367312800.html
Raktažodžiai:

Classical Recording: A Practical Guide in the Decca Tradition

is the authoritative guide to all aspects of recording acoustic classical music. Offering detailed descriptions, diagrams, and photographs of fundamental recording techniques such as the Decca tree, this book offers a comprehensive overview of the essential skills involved in successfully producing a classical recording. Written by engineers with years of experience working for Decca and Abbey Road Studios and as freelancers, Classical Recording equips the student, the interested amateur, and the practising professional with the required knowledge and confidence

to tackle everything from solo piano to opera.

Recenzijos

'I cannot imagine a more comprehensively written book about the principles and practicalities of the Decca approach to recorded sound () The book is essential reading not only for students but also anyone with a true interest in the art and science of recording music in such a way that it connects with the listener. This book will remain relevant for decades to come.' Simon Eadon, Abbas Records

'This book distils the thoughts and techniques from the pioneers of the business into a definitive reference book for anyone who works in recording or has a passion for recorded music. Wherever you use a microphone, from drum kits to Mahlers 8th symphony, from bathrooms to concert halls, youll discover a wealth of techniques and set ups to help deliver the best musical experience from the kit you have.' Jonathan Allen

'The authorship(s) from three Decca experts draw on their impressive and vast experience to illuminate one of the greatest traditions of classical recording.This book will become the necessary reference for any engineer or producer wishing to gain an understanding of the timeless techniques that can be employed in any modern recording.'

Peter Cobbin and Kirsty Whalley, Such Sweet Thunder 'I cannot imagine a more comprehensively written book about the principles and practicalities of the Decca approach to recorded sound. It is packed with useful facts. The book is essential reading not only for students but also anyone with a true interest in the art and science of recording music is such a way that it connects with the listener. This book will remain relevant for decades to come.' - Simon Eadon, Abbas Records

'This book distils the thoughts and techniques from the pioneers of the business into a definitive reference book for anyone who works in recording or has a passion for recorded music. Wherever you use a microphone, from drum kits to Mahlers 8th symphony, from bathrooms to concert halls, youll discover a wealth of techniques and set ups to help deliver the best musical experience from the kit you have. My aim when recording and mixing is to aim for a specific sound which I hear inside; a specific identity and character which works hand-in-hand with the music. This book is the springboard to help anyone achieve that goal.' - Jonathan Allen

'This is just the sort of book I wished I'd owned when I was starting out 30 years ago!' - Simon Rhodes, Senior Engineer, Abbey Road Studios

'The authorship(s) from three Decca experts draw on their impressive and vast experience to illuminate one of the greatest traditions of classical recording. This book will become the necessary reference for any engineer or producer wishing to gain an understanding of the timeless techniques that can be employed in any modern recording.' - Peter Cobbin and Kirsty Whalley, Such Sweet Thunder

Acknowledgements xii
Introduction xiii
Glossary of terms, acronyms, and abbreviations xvi
Glossary of recording attributes xviii
PART I Before recording
1(34)
1 Acoustics and the recording venue
3(10)
1.1 Brief introduction to room acoustics
3(5)
1.2 What to be aware of when looking at a venue
8(2)
1.3 What can you do to help with poor acoustics?
10(3)
2 Studio techniques and working on location
13(22)
2.1 Equipment
13(2)
2.2 Practicalities at the recording venue
15(3)
2.3 Rigging microphones and running cables
18(2)
2.4 The control room
20(3)
2.5 Studio communications: talkback, telephones, and cue lights
23(2)
2.6 Optimising recording workflow
25(3)
2.7 Running the session
28(7)
PART II Recording
35(264)
3 Basic two-microphone stereo techniques
37(6)
3.1 Co-incident microphone techniques
37(2)
3.2 Spaced omnis
39(1)
3.3 Spaced and angled cardioids
40(3)
4 Solo instruments
43(23)
4.1 Classical guitar and flamenco guitar
44(4)
4.2 Harp
48(3)
4.3 Violin
51(5)
4.4 Cello
56(3)
4.5 Woodwinds
59(4)
4.6 Harpsichord
63(3)
5 The piano
66(24)
5.1 The nature of the sound of a piano
66(2)
5.2 The physical layout of a grand piano
68(1)
5.3 The piano lid
68(4)
5.4 Recording aims
72(1)
5.5 Recording a solo piano: the spaced pair
73(6)
5.6 The Decca piano technique
79(4)
5.7 Techniques for other scenarios
83(3)
5.8 Practical issues when recording pianos
86(4)
6 Voice: solo and accompanied
90(19)
6.1 The singer in a recording session
90(1)
6.2 The classical voice and microphone placement
90(2)
6.3 Using two microphones on the voice
92(3)
6.4 Microphone choice
95(1)
6.5 Use of ambient pairs
96(1)
6.6 Concert recording layout
97(2)
6.7 Studio recording and reverse concert positions
99(4)
6.8 Classical voice and lute/theorbo/guitar
103(5)
6.9 Mixing and fader riding for a singer
108(1)
7 Solo instruments and piano
109(19)
7.1 Violin and piano in concert
110(3)
7.2 Violin and piano: studio layout
113(4)
7.3 Cello and piano in concert
117(2)
7.4 Cello and piano: studio layout
119(4)
7.5 Woodwind and piano
123(2)
7.6 Brass and piano
125(3)
8 The Decca Tree
128(22)
8.1 What is the Decca Tree?
128(1)
8.2 The three- and five-microphone trees
129(7)
8.3 The four-microphone Decca Tree
136(1)
8.4 Microphones for the Decca Tree
137(5)
8.5 Mounting the tree
142(3)
8.6 Notes on the evolution of the Decca Tree
145(5)
9 Ancillary microphones
150(32)
9.1 What do we mean by `ancillary'?
150(1)
9.2 Perception of orchestral depth and perspective
150(2)
9.3 General notes on placement of ancillary microphones
152(2)
9.4 Panning and levels of ancillary microphones
154(1)
9.5 Woodwinds
155(6)
9.6 Brass
161(7)
9.7 Percussion
168(5)
9.8 Double bass section
173(2)
9.9 Other string sectional microphones
175(3)
9.10 Harp
178(2)
9.11 Celeste
180(2)
10 Surround sound techniques
182(11)
10.1 Purpose of surround sound in classical music recording
182(1)
10.2 Panning a Decca Tree in 5.1 surround
183(2)
10.3 Natural reverberation: additional microphones for 5.1 surround
185(4)
10.4 Artificial reverberation in 5.1 surround
189(1)
10.5 Offstage effects in surround: location of sources behind the listener
190(1)
10.6 Object-based audio: Dolby Atmos
190(3)
11 Solo instruments and orchestra
193(18)
11.1 Piano concerto: studio layouts
193(6)
11.2 Single piano concerto: concert layout
199(1)
11.3 Piano concerto conducted from the keyboard
200(3)
11.4 A note on the size of the grand piano
203(1)
11.5 Violin concerto: studio layouts
203(2)
11.6 Violin concerto: concert layout
205(1)
11.7 Wind concertos: studio and concert layouts
205(1)
11.8 Cello concerto: studio and concert layouts
206(1)
11.9 Guitar concerto: studio layout
207(1)
11.10 Brass concertos: studio and concert layouts
208(2)
11.11 Percussion concertos
210(1)
12 Chamber ensembles
211(19)
12.1 String quartet in studio layout
211(6)
12.2 String quartet in concert
217(1)
12.3 Piano quintet: studio and concert techniques
217(4)
12.4 Piano quintet: reverse-seated studio position
221(1)
12.5 Piano trio: studio and concert techniques
221(4)
12.6 Small wind ensembles: studio or concert layout
225(5)
13 Wind, brass, and percussion bands
230(11)
13.1 A note about dynamic range and ear protection
230(1)
13.2 Large wind ensembles
230(2)
13.3 Classical brass ensemble
232(5)
13.4 Brass band
237(3)
13.5 Percussion ensembles
240(1)
14 Organ
241(11)
14.1 Brief introduction to the pipe organ
241(1)
14.2 Doing a venue reconnoitre
242(1)
14.3 Microphone choices, stands, and cable runs
242(1)
14.4 Basic technique: straightforward organ layout
243(1)
14.5 Organs with pipe divisions in several locations
244(2)
14.6 Interesting acoustic effects and other awkward corners
246(1)
14.7 Monitoring limitations
247(1)
14.8 Communication: talk microphone
247(1)
14.9 Noise
248(1)
14.10 Electronic organs
248(1)
14.11 Organ with orchestra: overdubbing or simultaneous recording
249(1)
14.12 Organ pitch
250(1)
14.13 Sampled organs
250(2)
15 Choirs
252(22)
15.1 General notes on microphone choice and placement
252(1)
15.2 Choir spacing
252(1)
15.3 Small choir
252(7)
15.4 The choral society
259(6)
15.5 Choral society with soloists and organ in concert
265(3)
15.6 Antiphonal church choir
268(6)
16 Solo voice, orchestra, and choir
274(25)
16.1 Orchestra and choir
274(5)
16.2 Orchestra and choir with stationary soloists
279(9)
16.3 Recording live opera for cinema, DVD, TV, radio, or CD
288(1)
16.4 Recording live opera at the Royal Opera House: microphone set-ups
289(4)
16.5 Mixing opera to 5.1 surround for cinema
293(6)
PART III After the recording session
299(48)
17 Mixing
301(12)
17.1 Choosing and blending microphone sources into a static balance
301(3)
17.2 Riding levels on ancillary microphones
304(1)
17.3 Use of EQ and high-pass filters
305(1)
17.4 Use of delays
306(1)
17.5 Reverb: natural and artificial
307(4)
17.6 Riding overall levels
311(2)
18 Editing and post-production
313(22)
18.1 Aims and philosophy of editing
313(1)
18.2 Requirements of a classical editing system
314(1)
18.3 Source-destination editing
315(3)
18.4 Classical post-production workflow
318(1)
18.5 Refining edits: how to solve problems and maintain musical flow
319(10)
18.6 Notes on working with different instruments
329(2)
18.7 Overdubbing scenarios
331(1)
18.8 Emergency measures: sampling piano notes and note removal
332(2)
18.9 Professional finish: joining into room tone
334(1)
19 Mastering
335(12)
19.1 Noise removal
335(1)
19.2 Changing the sound
336(1)
19.3 Tops and tails: room tone, breaths, noises, and fades
337(5)
19.4 Levels between tracks, compression, and loudness meters
342(2)
19.5 Placing track markers for CD mastering
344(3)
Appendices
347(38)
Appendix 1 Opera recording: practices at Decca from the 1950s to the 1990s
349(11)
Appendix 2 Cheaper alternatives to classic microphones
360(5)
Appendix 3 Original session set-up sheets
365(18)
Appendix 4 Orchestral layout notation
383(2)
Bibliography and further reading 385(2)
Index 387
Caroline Haigh grew up with equal love for music, maths, and physics and combined study of all of them on the Tonmeister course at the University of Surrey. She began her career in classical post-production working for Decca during her final year at University, and stayed there for several years before moving around the corner to Abbey Road Studios (EMI) in 1996. At both Decca and EMI, she gained experience with countless major classical artists and became a sought-after and skilful editor, working on several Grammy award-winning albums, including Les Troyens (Decca OSM/Dutoit) Best Opera 1995. Having enjoyed giving guest seminars at the University of Surrey during her time at Abbey Road, Caroline was recruited to teach on the Tonmeister course on a permanent basis from 2009. She currently teaches recording techniques, production/post-production skills and electro-acoustics (microphones), and she continues to work as a freelance classical editor.

John Dunkerley is one of the worlds most highly respected and emulated classical recording engineers. Throughout a long career at Decca and then as a freelancer, his recordings have been renowned for their ravishingly beautiful sound and attention to detail. He has worked with almost all the major artists of the last 40 years, has made over a thousand CDs, and his recordings have earned over 15 Grammy awards. John is one of the last engineers alive to have learnt his craft from the great Kenneth Wilkinson, the inventor of many of the techniques that underpin the classical recording art. John teaches workshops at the University of Surrey, at the Banff Centre, and at the Abbey Road Institute.

Mark Rogers studied on the Tonmeister course at the University of Surrey. He began his career working with John Dunkerley at Decca, and then spent nine years around the corner at EMIs Abbey Road Studios, where he was the chief technical engineer for Studio One, famous for its orchestral and film score recordings. Here he worked with hundreds of different producers and engineers and gained a unique insight into the huge variety of techniques used in classical recording. In 2000 he moved to a management role at Warner Music, and after four years left to become a freelance recording producer, engineer, and musician. Since then he has worked for a wide variety of clients, including the Royal Opera House, Covent Garden, and back where he started at Decca, and his recordings have won many accolades, including a Grammy award in 2009. Mark is a visiting lecturer at the University of Surrey.