Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.
Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture – whether in a home studio, recording studio, live or natural environment – in order to achieve a satisfactory sound recording.
Spis treści
Preface ix
Introduction xiii
Chapter 1 Recording History 1
1.1 In the beginning was the phonautograph 1
1.2 When it really started 2
1.3 Magnetic recording 8
1.4 The advent of 78 rpm 9
1.5 The magnetic tape and the LP 15
1.6 8-track cartridges, mini-cassette and Trimicron 20
1.7 The compact disk and the advent of digital technology 27
1.8 Digital technology is essential 29
1.9 Hard disk recorder and minidisc 36
1.10 Microcomputer, direct-to-disk and DAW 38
1.11 To conclude 42
Chapter 2 The Voice 45
2.1 The vocal apparatus and its functioning 45
2.2 Voice and breath 48
2.3 Song and speech 49
2.4 Frequency, intensity and timbre 50
2.5 Voice and range 51
2.6 Voice quality 54
2.7 Characteristics of the vocal timbre 55
2.8 Conclusion 57
Chapter 3 Microphones 59
3.1 A little history 59
3.2 The characteristics of a microphone 71
3.2.1 General characteristics 71
3.2.2 Specific characteristics 91
3.3 Microphone families 93
3.3.1 Microphone and transformer 94
3.3.2 Dynamic moving coil microphones 96
3.3.3 Ribbon microphones 98
3.3.4 Condenser microphones 100
3.3.5 USB microphones 104
3.4 Uses of microphones according to their directivity 107
3.4.1 Omnidirectional microphones 107
3.4.2 Bidirectional microphones (figure-8) 107
3.4.3 Cardioid microphones 109
3.5 Conclusion 110
Chapter 4 The Acoustic Environment 111
4.1 Location of pickup and sound isolation 111
4.2 Acoustic processing 112
4.2.1 State of the art 112
4.2.2 Bass traps 114
4.2.3 Acoustic diffusers 123
4.3 Acoustic booths 130
4.4 Accessories 132
4.4.1 Acoustic shields 132
4.4.2 Pop filters 135
4.4.3 Headphones 136
4.4.4 Microphone suspensions 142
4.4.5 Feet, poles, and arms 142
4.4.6 Bonnets 146
4.5 Conclusion 148
Conclusion 149
Appendices 151
Appendix 1 Sound Unit 153
Appendix 2 Audio Connectivity 161
Appendix 3 Audio Processing Plugins 171
Appendix 4 Tube and JFET Microphone Amplifiers 177
Appendix 5 Microphone Pairs 181
Glossary 195
References 203
Index 213
O autorze
Jean-Michel Reveillac is a Lecturer at the University of Burgundy, France, a consultant for large media companies and also runs a restoration, mixing and transcoding studio. He has been a specialist in sound processing for over 35 years.
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