Читать книгу Recording and Voice Processing, Volume 2 - Jean-Michel Reveillac - Страница 10
Оглавление
Introduction
As you may have discovered in Volume 1 of this book, voice recording and voice processing have been around for several decades. During the 20th century, the techniques and means of capture rapidly evolved from an environment that was analog and electromechanical, then electronic, to digital technologies which currently allow an almost systematic dematerialization of the transcription and archiving chain.
The computer and the appearance of digital audio processing stations, mixing editors and processing plugins have become indispensable, imposing new standards.
Figure I.1. Some digital audio workstations (DAWs) –
source: www.musicradar.com. For a color version of this figure, see www.iste.co.uk/reveillac/recording2.zip
The predominance of the Internet and networks has shaken up the entire music industry, from sound recording to distribution to the final customer. The listener has changed their relationship with the broadcasting medium, seeing the disc, the tape, the walkman and soon the CD or even the MP3 disappear, having only a subscription to a streaming platform (Spotify, Deezer, Apple Music, YouTube Music, Amazon Music, etc.).
There are some nostalgists who still defend the vinyl record, which is making a comeback, but it is far from being the most widespread medium. The worldwide invasion of smartphones and the constant evolution of the speed and quality of networks has quickly changed habits, making obsolete many technologies that were considered innovative only a few years ago.
Figure I.2. The first portable tape player (Sony TPS-L2 – 1979) and the MP3 player (Apple iPod – 2002)
In this second volume, more oriented towards recording, voice mixing and studio work, I will start by describing the hardware and software tools that are effective in recording and include them in the audio chain that will support them.
To continue, I will present several examples of recording studio configurations, from the most modest to the most advanced.
In this context, I will approach sound recording, without neglecting the comfort of the performer and the management of their immediate environment, within which will be placed the various essential materials, respecting the rules necessary for a correct recording.
Figure I.3. An example of a home studio – source: thomann.de. For a color version of this figure, see www.iste.co.uk/reveillac/recording2.zip
To go further, I will study the constraints related to the recording of a group, a choir or a voice-over.
Once the recording has been made, it will be time to process it by implementing different processes during the mixing process that will ensure a correct sound rendering while respecting the style and coloring that you wish to impose.
To conclude, I will examine the sound effects or possible corrections that can be made to finalize your project.
I hope that the four chapters that make up this second volume will enrich your knowledge of vocal recording and enable you to make quality recordings that respect your personal feelings and style.
