| Description |
1 online resource |
| Series |
Audio Engineering Society Presents Ser |
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Audio Engineering Society Presents Ser
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| Contents |
Cover -- Half Title -- Series -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Introduction -- Glossary of terms, acronyms, and abbreviations -- Glossary of recording attributes -- Part I Before recording -- 1 Acoustics and the recording venue -- 1.1 Brief introduction to room acoustics -- 1.2 What to be aware of when looking at a venue -- 1.3 What can you do to help with poor acoustics? -- 2 Studio techniques and working on location -- 2.1 Equipment -- 2.2 Practicalities at the recording venue -- 2.3 Rigging microphones and running cables -- 2.4 The control room |
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2.5 Studio communications: talkback, telephones, and cue lights -- 2.6 Optimising recording workflow -- 2.7 Running the session -- Part II Recording -- 3 Basic two-microphone stereo techniques -- 3.1 Co-incident microphone techniques -- 3.2 Spaced omnis -- 3.3 Spaced and angled cardioids -- 4 Solo instruments -- 4.1 Classical guitar and flamenco guitar -- 4.2 Harp -- 4.3 Violin -- 4.4 Cello -- 4.5 Woodwinds -- 4.6 Harpsichord -- 5 The piano -- 5.1 The nature of the sound of a piano -- 5.2 The physical layout of a grand piano -- 5.3 The piano lid -- 5.4 Recording aims |
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5.5 Recording a solo piano: the spaced pair -- 5.6 The Decca piano technique -- 5.7 Techniques for other scenarios -- 5.8 Practical issues when recording pianos -- 6 Voice: solo and accompanied -- 6.1 The singer in a recording session -- 6.2 The classical voice and microphone placement -- 6.3 Using two microphones on the voice -- 6.4 Microphone choice -- 6.5 Use of ambient pairs -- 6.6 Concert recording layout -- 6.7 Studio recording and reverse concert positions -- 6.8 Classical voice and lute/theorbo/guitar -- 6.9 Mixing and fader riding for a singer -- 7 Solo instruments and piano |
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7.1 Violin and piano in concert -- 7.2 Violin and piano: studio layout -- 7.3 Cello and piano in concert -- 7.4 Cello and piano: studio layout -- 7.5 Woodwind and piano -- 7.6 Brass and piano -- 8 The Decca Tree -- 8.1 What is the Decca Tree? -- 8.2 The three- and five-microphone trees -- 8.3 The four-microphone Decca Tree -- 8.4 Microphones for the Decca Tree -- 8.5 Mounting the tree -- 8.6 Notes on the evolution of the Decca Tree -- 9 Ancillary microphones -- 9.1 What do we mean by 'ancillary'? -- 9.2 Perception of orchestral depth and perspective |
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9.3 General notes on placement of ancillary microphones -- 9.4 Panning and levels of ancillary microphones -- 9.5 Woodwinds -- 9.6 Brass -- 9.7 Percussion -- 9.8 Double bass section -- 9.9 Other string sectional microphones -- 9.10 Harp -- 9.11 Celeste -- 10 Surround sound techniques -- 10.1 Purpose of surround sound in classical music recording -- 10.2 Panning a Decca Tree in 5.1 surround -- 10.3 Natural reverberation: additional microphones for 5.1 surround -- 10.4 Artificial reverberation in 5.1 surround -- 10.5 Offstage effects in surround: location of sources behind the listener |
| Summary |
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 |
| Notes |
Title from content provider |
| Subject |
Decca Music Group.
|
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Sound -- Recording and reproducing.
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Music.
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music (discipline)
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Music
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Sound -- Recording and reproducing
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| Form |
Electronic book
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| Author |
Haigh, Caroline
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Rogers, Mark
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| ISBN |
9781000194845 |
|
1000194841 |
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