Audio Examples

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Chapter 3: Understanding Microphones

While comparing the five microphone techniques, listen for the following characteristics—Overall image width, source width, ratio of direct to reverberant signal, timbral balance of low and high frequencies, clarity, and dynamic contrast.

Credit: Chopin: Nocturne in E Flat Major, Op. 9, No.2 (excerpt). Kimihiro Yasaka, piano, Montreal, 2016.

            Chapter 7: Recording Strings

            Comparison of string elements

            While referring to the individual elements in the full mix, listen for the following characteristics:

            • Main system—overall balance of stage and room sound, good balance of strings to the back half of the ensemble.
            • Outriggers – wider image, clarity in string sound, strong strings as compared to back half of the orchestra, enhanced low frequency directivity.
            • String spots—clarity, detail, nominal (manageable) leakage from adjacent sections.
            • Double Bass—direct/full sound, clarity, minimal leakage.

            Credit: John Adams: Guide to Strange Places (excerpt), David Robertson conducting the St. Louis Symphony Orchestra. Nonesuch Records, 468220-2 www.nonesuch.com

                      Chapter 8: Recording Woodwinds, Brass, and Percussion

                      Comparison of elements

                      While referring to the individual elements in the full mix, listen for the following characteristics:

                      • Main system—overall balance of stage and room sound, good perspective of woodwinds, brass, percussion into the back half of the ensemble.
                      • Woodwinds—good capture of each instrument, nominal leakage from other sections.
                      • Brass—clarity, detailed full sound, balance of section.
                      • Horns—clarity, detailed full sound, balance of section with 1st Horn slightly more prominent, nominal leakage from other sections.
                      • Percussion—details, good coverage of entire section/all instruments.

                      Credit: John Adams: Doctor Atomic Symphony, II. Panic (excerpt), David Robertson conducting the St. Louis Symphony Orchestra. Nonesuch Records, 468220-2 www.nonesuch.com

                                  Chapter 9: Recording Harp, Piano, Celeste

                                  Comparison of elements

                                  While referring to the individual elements in the full mix, listen for the following characteristics:

                                  • Main system—overall balance of stage and room sound, good perspective of piano harp and celeste in the ensemble.
                                  • Piano—even coverage, with good clarity.
                                  • Harp—even coverage of the instrument, minimal leakage.
                                  • Celeste—good coverage, minimal leakage.

                                  Credit: John Adams: Guide to Strange Places (excerpt), David Robertson conducting the St. Louis Symphony Orchestra. Nonesuch Records, 468220-2 www.nonesuch.com

                                            Chapter 10: Recording Orchestra and Chorus

                                            Comparison of elements

                                            While referring to the individual elements in the full mix, listen for the following characteristics:

                                            • Main system—good blend of orchestra and chorus, good depth and perspective.
                                            • Chorus—even coverage, blend, clarity, diction, and minimal leakage of adjacent elements. Note in this case the amount of brass in the chorus pickup.

                                            Credit: Rachmaninov: The Bells, III. Presto (excerpt). José Serebrier conducting the Russian National Orchestra and the Moscow State Chamber Choir. Warner Classics and Jazz, 2564 68025-5. www.warnerclassicsandjazz.com

                                                  Chapter 11: Recording Concertos

                                                  Chapter 11a

                                                  Comparison of elements

                                                  While referring to the individual elements in the full mix, listen for the following characteristics:

                                                  • Main system—good blend of orchestra, good depth and perspective, soloist centered and slightly recessed.
                                                  • Violin—even coverage, stable image, clarity, and minimal leakage of adjacent elements.

                                                  Credit: Mendelssohn: Violin Concerto in E Minor, Op. 6, I. Allegro molto appassionato (excerpt). Victor Fournelle-Blain, violin and Alexis Hauser conducting the McGill Symphony Orchestra, Montreal, 2016. www.mcgill.ca/music/ensembles/orchestras/mgso

                                                        Chapter 11b

                                                        While referring to the individual elements in the full mix, listen for the following characteristics:

                                                        • Main system—good blend of orchestra, good depth and perspective, soloist centered and slightly recessed.
                                                        • Piano—even coverage, stable image, clarity, and minimal leakage of adjacent elements.

                                                        Credit: Mozart: Piano Concerto No. 24 in C Minor, K. 491, III. Allegretto (excerpt). Meagan Milatz, piano and Alexis Hauser conducting the McGill Symphony Orchestra, Montreal, 2015. www.mcgill.ca/music/ensembles/orchestras/mgso

                                                              Chapter 17: Recording String Quartet

                                                              Comparison of main microphone placement

                                                              While comparing the two microphone positions, listen for the following characteristics:

                                                              • 17.1 has an exaggerated sense of depth and 2nd violin and cello are under-balanced.
                                                              • 17.2 still has depth but with even perspective of all instruments.

                                                              Credit: Mozart: Divertimento in D Major K.136, I. Allegro (excerpt). String quartet courtesy of Kate Maloney, Montreal, 2015.

                                                                  Chapter 18: Recording Piano with Other Instruments

                                                                  Comparison of musician placement

                                                                  While comparing the two examples, listen for the following characteristics:

                                                                  • 18.1 has an exaggerated sense of depth in the piano, and violin is less defined.
                                                                  • 18.2 still has depth but with even perspective of both instruments and the violin is clear and well-balanced.

                                                                  Credit: Fauré: Violin Sonata No. 1 in A Major, Op. 13, I. Allegro Molto (excerpt). Kate Maloney, violin, Michel-Alexandre Broekaert, piano, Montreal, 2016

                                                                      Chapter 19: Recording Solo Piano

                                                                      See Chapter 3 for audio examples.