Recording and Voice Processing, Volume 1

Recording and Voice Processing, Volume 1
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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.<br /><br /><i>Recording and Voice Processing 1</i> 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.

Оглавление

Jean-Michel Reveillac. Recording and Voice Processing, Volume 1

Table of Contents

List of Illustrations

List of Tables

Guide

Pages

Recording and Voice Processing 1. History and Generalities

Preface

Target audience

Structure and contents of the book

Conventions

Vocabulary and definition

Acknowledgments

Introduction

1. Recording History

1.1. In the beginning was the phonautograph

1.2. When it really started

1.3. Magnetic recording

1.4. The advent of 78 rpm

1.5. The magnetic tape and the LP

1.6. 8-track cartridges, mini-cassette and Trimicron

1.7. The compact disk and the advent of digital technology

1.8. Digital technology is essential

1.9. Hard disk recorder and minidisc

1.10. Microcomputer, direct-to-disk and DAW

1.11. To conclude

2. The Voice

2.1. The vocal apparatus and its functioning

2.2. Voice and breath

2.3. Song and speech

2.4. Frequency, intensity and timbre

2.5. Voice and range

2.6. Voice quality

2.7. Characteristics of the vocal timbre

2.8. Conclusion

3. Microphones

3.1. A little history

3.2. The characteristics of a microphone

3.2.1. General characteristics. 3.2.1.1. Transducer technology

3.2.1.2. Noise level

3.2.1.3. Signal-to-noise ratio

3.2.1.4. Output impedance

3.2.1.5. Sensitivity

3.2.1.6. Frequency response

3.2.1.7. Maximum allowable sound pressure

3.2.1.8. Directivity

3.2.1.8.1. Omnidirectional

3.2.1.8.2. Hemispheric

3.2.1.8.3. Bidirectional

3.2.1.8.4. Cardioid

3.2.1.8.5. Supercardioid

3.2.1.8.6. Hypercardioid

3.2.1.8.7. Subcardioid

3.2.1.8.8. Gun or shotgun

3.2.2. Specific characteristics. 3.2.2.1. Membrane width

3.2.2.2. Amplification type

3.3. Microphone families

3.3.1. Microphone and transformer

3.3.2. Dynamic moving coil microphones

3.3.2.1. Some dynamic moving coil microphones

3.3.3. Ribbon microphones

3.3.3.1. Some ribbon microphones

3.3.4. Condenser microphones

3.3.4.1. Some condenser microphones

3.3.5. USB microphones

3.3.5.1. Some USB microphones

3.4. Uses of microphones according to their directivity

3.4.1. Omnidirectional microphones

3.4.2. Bidirectional microphones (figure-8)

3.4.3. Cardioid microphones

3.5. Conclusion

4. The Acoustic Environment

4.1. Location of pickup and sound isolation

4.2. Acoustic processing

4.2.1. State of the art

4.2.2. Bass traps

4.2.2.1. Porous absorber bass traps

4.2.2.2. The Helmholtz resonator bass traps

4.2.2.3. Membrane or flexing bass traps

4.2.2.4. Active or electronic bass traps

4.2.2.5. Manufacturers

4.2.3. Acoustic diffusers

4.2.3.1. Suppression of comb filtering

4.2.3.2. Equal distribution of sound energy

4.2.3.3. Enlargement of the space

4.2.3.4. Homogenization of the frequency response

4.2.3.5. Suppression of unwanted echoes

4.2.3.6. To go a bit further

4.3. Acoustic booths

4.4. Accessories

4.4.1. Acoustic shields

4.4.2. Pop filters

4.4.3. Headphones

4.4.4. Microphone suspensions

4.4.5. Feet, poles, and arms

4.4.6. Bonnets

4.5. Conclusion

Conclusion

Appendices

Appendix 1. Sound Unit. A1.1. Introduction

A1.2. Bel and decibel

A1.3. The different variants of the dB

A1.4. Conclusion

Appendix 2. Audio Connectivity. A2.1. Introduction

A2.2. Coaxial jack

A2.3. XLR plug

A2.4. XLR cables and adapter jacks

A2.5. USB connector

A2.6. Sub-D connector

A2.7. BNC connector

A2.8. RCA connector

A2.9. Toslink connector

A2.10. Conclusion

Appendix 3. Audio Processing Plugins. A3.1. Introduction

A3.2. Compression plugins

A3.3. Equalization plugins

A3.4. De-Esser plugins

A3.5. Delay and reverb plugins

Appendix 4. Tube and JFET Microphone Amplifiers. A4.1. Introduction

A4.2. Operating principle of tube microphones

A4.3. JFET microphones

Appendix 5. Microphone Pairs. A5.1. Introduction

A5.2. The AB pair

A5.3. The XY pair

A5.4. The ORTF pair

A5.5. The MS pair

A5.6. The Decca tree

A5.7. The Blumlein method

A5.8. The Faulkner Array

A5.9. The sound-absorbing disk method

A5.10. The artificial head

A5.11. Conclusion

Glossary. A

B

C

D

E

F

I

J

L

M

P

Q

R

S

T

U

V

X

References

Hyperlinks

Software publishers

Hardware manufacturers

Talkback

Plugins

Acoustics

Vocoder

Home Studio

Sound effects

Audio filtering

The voice

Audio software tutorials

Interfaces and communication

General sites

Index

WILEY END USER LICENSE AGREEMENT

Отрывок из книги

Jean-Michel Réveillac

.....

The conclusion sheds light on the whole book and gives a brief overview of the future evolution of voice recording.

Each volume can be read separately. While there are concepts that are dependent on another chapter, references to the relevant sections are given. However, the first two chapters of Volume 1, devoted to the history of recording and to the human voice, provide a contextual basis for the understanding of several notions that you will find in the following chapters.

.....

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