In the past years the recording technics for pop and light music influenced the recording technics for classical music. By comparing older and new recordings of classical music it is not obvious that the new recordings sound better or more accurate. It seems that there are no reasons to use light music recording technics to record sinfony orchestras or chamber music groups playing in the right acoustical environment. The fundamentals of our recording technic are the following assumptions: The sound source is balanced. The sound source has the right acoustical environment. Sound source and room belong together. Under these circumstances there should be one point in the room where the available sound is o.k. At this point the balance of the direct sound from the instruments and the relation between the direct and the reverberant sound is optimal. A microphone configuration was developed to pick up the sound at this point. The stereo signal from the configuration is composed of time-delay-, intensity- and frequency response differences between the two channels. The signal of spot microphones used together with this configuration must be time delayed according to their distance from the stereo configuration. An electronic compensation signal is introduced to overcome the limitations of the two-loudspeaker reproduction in an average living room.
https://www.aes.org/e-lib/browse.cfm?elib=3767
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Learn more about the AES E-Library
Start a discussion about this paper!
