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by Robert Toft
Recording Classical Music
Cover
Half Title
Title
Copyright
Contents
Preface
Acknowledgments
PART 1 • Fundamental Principles
1 Soundwaves
Enclosed Spaces
2 Audio Chain From Sound Source to Listener
Integrity Within an Audio Chain
Basic Concepts and Terminology
PART 2 • Production
3 Microphone Types
The Behavior of a Pure Diaphragm
Condenser Microphones
Dynamic and Ribbon Microphones
4 Microphone Characteristics
Frequency Response
Directional (Polar) Patterns
Random Energy Efficiency (REE; Also Called Directivity Factor)
Distance Factor
Proximity Effect
Phase
5 Stereo Microphone Techniques
Coincident Pairs
Near-Coincident Arrays
Spaced Microphones
6 Tracking
Critical Listening
Setting Levels
Room Ambience
PART 3 • Post-Production
7 EQ
Digital Filters
Common Practices (A Place to Start as Listening Skills Develop)
8 Control of Dynamic Range
Compressors
Limiters
Dynamic EQ
De-essers
9 Reverberation
Digital Reflection Simulation
Convolution
10 Delivery
File Types
Loudness and Meters
PART 4 • Common Recording Strategies
11 Solo Piano
Recording in Stereo
Unfavorable Room Acoustics
12 Soloists With Piano Accompaniment
Voice
Violin
Cello
Clarinet, Oboe, Flute
Trumpet, Trombone, French Horn
13 Small Ensembles
Piano Trio
String Quartet
Chamber Choir
14 Sessions
Solo Piano
Solo Cello
Double Bass and Piano
15 Studio Techniques: Re-Creating the Aural Sense of Historic Spaces
Pre-Production
Production
Post-Production
Glossary
Index
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Recording Classical Music
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