Classical Recording
A Practical Guide in the Decca Tradition
- Cover
- Half Title
- Series
- Title
- Copyright
- Dedication
- Contents
- Acknowledgements
- Introduction
- Glossary of terms, acronyms, and abbreviations
- Glossary of recording attributes
- Part I Before recording
- Part II Recording
- 3 Basic two-microphone stereo techniques
- 4 Solo instruments
- 5 The piano
- 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
- 8 The Decca Tree
- 9 Ancillary microphones
- 9.1 What do we mean by ‘ancillary’?
- 9.2 Perception of orchestral depth and perspective
- 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
- 10.6 Object-based audio: Dolby Atmos
- 11 Solo instruments and orchestra
- 11.1 Piano concerto: studio layouts
- 11.2 Single piano concerto: concert layout
- 11.3 Piano concerto conducted from the keyboard
- 11.4 A note on the size of the grand piano
- 11.5 Violin concerto: studio layouts
- 11.6 Violin concerto: concert layout
- 11.7 Wind concertos: studio and concert layouts
- 11.8 Cello concerto: studio and concert layouts
- 11.9 Guitar concerto: studio layout
- 11.10 Brass concertos: studio and concert layouts
- 11.11 Percussion concertos
- 12 Chamber ensembles
- 13 Wind, brass, and percussion bands
- 14 Organ
- 14.1 Brief introduction to the pipe organ
- 14.2 Doing a venue reconnoitre
- 14.3 Microphone choices, stands, and cable runs
- 14.4 Basic technique: straightforward organ layout
- 14.5 Organs with pipe divisions in several locations
- 14.6 Interesting acoustic effects and other awkward corners
- 14.7 Monitoring limitations
- 14.8 Communication: talk microphone
- 14.9 Noise
- 14.10 Electronic organs
- 14.11 Organ with orchestra: overdubbing or simultaneous recording
- 14.12 Organ pitch
- 14.13 Sampled organs
- 15 Choirs
- 16 Solo voice, orchestra, and choir
- Part III After the recording session
- 17 Mixing
- 18 Editing and post-production
- 18.1 Aims and philosophy of editing
- 18.2 Requirements of a classical editing system
- 18.3 Source-destination editing
- 18.4 Classical post-production workflow
- 18.5 Refining edits: how to solve problems and maintain musical flow
- 18.6 Notes on working with different instruments
- 18.7 Overdubbing scenarios
- 18.8 Emergency measures: sampling piano notes and note removal
- 18.9 Professional finish: joining into room tone
- 19 Mastering
- Appendices
- Bibliography and further reading
- Index
-
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