Meeting Topic: The real case of classical music recording in Germany
Moderator Name: Kazuya Nagae, Nagoya University of the Arts, Assoc. prof, Soundmedia composition Course
Speaker Name: Dipl.-Tonmeister, Florian B. Schmidt, Dipl.-Tonmeister, Aki Matusch from Pegasus Music Production
Meeting Location: Tokyo University of the Arts Department of Musical Creativity and the Environment Studio
AES Japan section invited Tonmeister Florian B. Schmidt and Tonmeister Aki Matusch to lecture how classical music recording in Germany is actually made it.
Mr. Schmidt is graduated from Berlin University of the Arts Tonmeister course, over 20 years of experience as a freelance Tonmeister (prodecer and enginner), he has been active as a music producer, especially for German public radio's music broadcasting producer and and productions between broadcasters and external labels. In 2014, he co-founded recording production company Pegasus Music Production http://www.pegasus-audio.de/en/ with Aki Matusch. Now he is active music producer in production of various labels.
Mr. Matusch is a Japanese-German half-Tonmeister with a German vocalist's father and a Japanese pianist's mother. Also he graduated from Berlin University of the Arts Tonmeister course. After graduated he started to his carrier. He carry on Pegasus Musikproduktion with Florian B. Schmidt, as balance engineer in production of various labels.
From 2019, he is also in charge of technical engineer relaying on German public radio, and is active in the broadcasting field.
On the first part, They introduced theory of music recording on Stereo mic Technique, Main mic, Spot mic, AB, Decca-Tree, Straus-Paket and Time Alignment.
Next they introduced three cases of real recording.
The Case of the recording 1 for the Mic Arrangment
Shostakovich Symphony No. 5, Yutaka Sado, Tonkünstler-Orchester. They introduced about mic arrangment. Main Mic System AB, Decca-Tree, Outrigger and Spot mic. And they explained how to mix them, how to use Delay as Time Alignment, Fader Automation for the musical balance... while playing back the sound.
The Case of the recording 2 for the Spot mic for the solo Insturment.
Walton Violin Concerto, Vn. Fabiola Kim Cond. Kevin John, Münchener Symphoniker. They explained the difference between stereo spots and thing spots, compared playback of ribbon mics and condenser mics, and how to use reverb.
The Case of the recording 3 for the Mixing Technique for the dimension. Heinrich Schütz SWV449, Dresdner Kammerchor. They explained the how mixing for achieve of Three-dimensional in Stereo to use Time Alignment some Filters as reduce for spot mic's low frequency.
Participants were able to get in touch with the actual recording techniques in Germany.
Written By: Kazuya Nagae, Nagoya University of the Arts, Assoc. prof, Soundmedia composition Course