Re: [LAU] digital voodoo: master fader should be set at 0db

From: <fons@email-addr-hidden>
Date: Tue Apr 13 2010 - 01:57:36 EEST

On Mon, Apr 12, 2010 at 04:41:10PM -0500, micromoog wrote:
> 2010/4/12 Jörn Nettingsmeier <nettings@email-addr-hidden-hochschule.de>
 
> > if all those cable and bit transparency fetishists knew how reference
> > classical recordings are produced, the whole discussion (and large parts
> > of the high-end market) would go down in flames.
> >
>
> I for one am interested in this . . . how *are* those top-end reference
> recordings produced? Using an old pair of headphones as mics, with long
> coils of electrical extension cord for cabling? :P

There's not 'one way' - production techniques vary
depending on the type of music (string trio...opera)
circumstances (live, studio), and other considerations
such as budget.

Budgets for classical recordings are low these days,
and if a large number of musicians is involved they
tend to be concert recordings (because otherwise
it's too expensive).

Equipment used is an order of magnitude simpler than
for most 'pop', but that doesn't mean direct stereo
only, 8...16 tracks for complex orchestral + choirs
+ solos are not unusual, if video is involved (e.g.
for opera recordings) even more tracks can be used.

Equipment doesn't have to be old. Some people use
tube mics from the 60s and an analog mixer, some use
the latest digital microphones and quite sophisticated
digital mixers, and all of this can be seen together.

Quality of the equipment is usually the best, but of
the no-nonsense kind, you won't see oxygen-free cables,
gold-plated optical connectors, or any of the voodoo
found on the high-end 'audiophile' market.

Monitoring is always on speakers. 'Effects' are out,
EQ is used but will be moderate, compression will be
'manual'.

Things like live opera recording and orchestral studio
recording can involve a lot of editing, in the first
case to combine the best parts of different performances,
in the latter because there's usually no time to repeat
a complete symphony movement each time someone misses
a note.

Audio engineers doing this type of work are expected to
know the music, understand the artistic requirements,
and be able to read an orchestral score and correlate
it to what they hear. The latter can be quite hard
sometimes, e.g. for contemporary classical music.

Ciao,

-- 
FA
O tu, che porte, correndo si ?
E guerra e morte !
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Received on Tue Apr 13 04:15:02 2010

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