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Classical Stereo Recording Techniques

Classical Stereo Recording Techniques. Eargle, Ch. 13. Basic Concerns. Ideal listening position is not ideal microphone position. Live listening allows for better focus. Difficult to reproduce full range of spatial cues through stereo miking and playback.

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Classical Stereo Recording Techniques

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  1. Classical Stereo Recording Techniques Eargle, Ch. 13

  2. Basic Concerns • Ideal listening position is not ideal microphone position. • Live listening allows for better focus. • Difficult to reproduce full range of spatial cues through stereo miking and playback. • Most common approach is to place mic’s at Row A, with home playback effect positioning listener at Row J.

  3. Basic Instrument Acoustics • Sound generally radiates forward and upward. • Musician’s prefer uncarpeted floor. • LF essentially non-directional. • HF more complex. • Brass, along axes of instruments. • Woodwinds,  (depends)

  4. Basic (2) • Strings • LF omnidirectional • Mid perpendicular to top plate or belly • HF fairly broad • Piano and Percussion vary widely

  5. Dynamic Range • Any given instrument, within a given frequency range, 35 - 40 dB. • Horn up to 65 dB over its entire frequency range. • Clarinet has broadest dynamic range within a given frequency range – 50 dB in its middle range. • Full orchestras generally have around a 90 dB range from noise floor to peaks.

  6. Individual Instruments • Read on your own!!

  7. Accent Microphones (Spot Mics) • Used to bring out certain sub-groups within a larger ensemble. • Usually cardiods • Usually necessary to delay accents relative to main mix ( X m / 344 seconds) • Pan accent mics to position of sub-group in main mix • Relative level varies according to main level. (most often -6 to -12 dB below)

  8. Reverberation • Settings vary by ensemble, room size, style and historical period • Liturgical music tends to have the most reverb. • Chamber music the least. • Classical and modern music will both have shorter reverb times. • Romantic music more. • Fig. 13 - 17 in Eargle (p. 213)

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