The Decision-Making Process Of The Advanced Audio Production

Q: Which of the following is a new low-profile chassis designed to complement the rest of the home theater equipment?

Understanding the feeling of the character and the music that surrounds the production is important to what the spotting session members are trying to relay to the viewer. During silent films, the music and sound effects were the only way to understand the message, was it sad, happy, scary, or funny and these are created by different instruments. The some of the examples of these types of productions are Tom and Jerry, Lion King and Shrek 1. These examples have various types of Source music or pre-existing types of music in bedded into the production. Source music is music that is heard on the screen from different sources.

found the noise level to jump also. The space in front of the stage that I was occupying,

Some of the studio techniques that Spector developed includes recording with “Triple rhythm sections, that is, three drummers, three bass players, and three pianos. Spector also included multiple guitars and plenty of wind instruments in his recordings [along with placing] all go his musicians into a relatively small space” (Lesson 13 - The Record Producer and the rise of Surf Rock). So, this was one of his techniques that he used in his recordings that led each instruments sound to be heard not only in its own microphone, but also in the all the near microphones. Furthermore, another technique that he unfolded in 1960s was called doubling “In which two different instruments would play the exactly same line

This eliminated the need for highly skilled professional musicians to back up tunes in the studio. Musicians are expensive as is studio time, so methods were created to save cost while producing the most equivalent replica of the missing instrumentalists.

To reduce the cost of the system, the data acquisition was done using built in sound card of the PC in place of DAC. This work was done using LABVIEW as

As a result of The Beatles being the number one band in the world, they had access to the industries latest recording tools. Perhaps one of the most important recording tools used by the band in recording was automatic double tracking or ADT. This device allowed the band to flawlessly double any given sound. ADT was used mostly on vocals to enhance the sound of the singer. The Beatles also used an innovative tool known as the Dolby noise reduction system (Dolby NRS). This device reduced the build up of noise during the over dubbing process. Dolby NRS is still widely used in the field of music recording. In an effort to find a new sound, The Beatles cracked open an amplifier and put a fan inside. Just as talking into a fan distorts a voice, the band found that it has the same effect on an instrument. Many of the sounds were added onto the tracks randomly which makes the album virtually impossible to rerecord or perform live.

Alden was one the first people to create a microphone and a button on the headphones that allowed individuals to

For the vocals, there was a lack of presence due to the use of less exciting preamps and vocal mic at home, a much softer performance, and a lot of frequency content above 10 kHz (possibly due to the Rode mic used, as well as the modern stock preamp on my home interface). So an eq was used to match the vintage vocal sound on the recording.

In addition, it is also paramount for the audio quality to be consistently audible for all members of the audience. This will be achieved by utilising a system design configuration that focus’ on clarity and direction whilst also rendering itself sympathetic to the sensitive ears of the general public not attending the event.

To record this album an EMI console, a 16-track tape machine, a Fairchild limiters, and an EMT plate reverb were used. There were also up to five or six tape machines doing various delays, reverb delays, ect. at one time. Alan remembers “on the mix having to

I also decided to remove the overhead microphones from the recording, as the self-noise that was being transmitted from the microphones detracted significantly from the mix. It also became more prominent when EQ was added to the track in order to bring out the cymbal roll at the beginning. The cymbals could also be picked up sufficiently up by the high hat microphone, allowing the overhead to be removed from the recording without detracting from quality of the performance. I also used EQ to bring out the body and the attack of drum kit, and used a high pass filter to minimise the lower frequencies of the bass

They connected their frequency generator to a small amplifier and linked the amplifier to a small electric power source. These are hooked up to a collimator that they made out of a large cardboard tube with a hole at the end, which narrows the sound waves to a smaller area.

Once the Vitaphone staked its claim in the film industry the research and application of new sound equipment began to grow rapidly. First moving to even louder speakers for the audience to enjoy the music even more. Then moving to stereo speakers having different sounds coming from different speakers. Then moving to surround sound where the audience is engulfed in music and sound effects from all around them. Finally to our current technology of IMAX sound adding even more speakers and pushing sound to the point of shaking the seats in the theaters. One of the most important contributions that the talkies provided was the technique of sound mixing. Going back to the rituals of the Sumerians and through Greek and Roman period through classical and romantic opera the instrumentalist would either have to play soft or not at all when there was singing or talking because the instruments would drown out the voices. Now with sound mixing that is not the case. They can always raise the voice and lower the instrumental music from machines instead of the singers trying to sing over the orchestra. A perfect example of this explanation was given by one of the greatest film music composers of his time Bernard Herrmann, “For by separately recording music and sound and voice, we are able to mix them together at the proper volume. The speaking voice and the music can achieve a perfect balance. That is the greatest contribution of the genuine sound film”. Without this invention the

Recording guitar is rarely ever as easy as sloppily plopping down whatever mic 's handy at the moment in front of the speaker grille and hitting record. Majority would even argue that mic choice and placement only play bit parts in a larger production that involves pre-amps, guitar amps, cable length, A/D D/A converters, tracking through a console clean vis-a-vis applying processing going in, and of course, the choice of guitar itself! Instead of writing a fully comprehensive work (and a very, very long discussion and debate), this article aims to address some basic guitar micing technique using a dynamic cardioid microphone (such as the venerable SM57) and a condenser (such as a Neumann u87). 1 mic technique If the situation calls for using one microphone, you can position your dynamic mic either as close to the speaker grille cloth as possible (less ambiance) or 3-6 inches away, either pointing to the center of the cone or off-axis. Listen through your monitors how the speaker sounds like, and change cones if you aren 't satisfied (as in the case of a marshall 4x12). Once you 've decided on which cone to record, fine tune the guitar sound by angling the mic towards or away from the center of the cone as it makes a difference in the tone coming into your recording. A condenser is generally placed a bit farther because of its higher sensitivity (and in some cases, lower clipping point with regard to SPL handling). 2 mic technique Applying the technique above, one may