Читать книгу Recording and Voice Processing, Volume 2 - Jean-Michel Reveillac - Страница 3

1 IntroductionFigure I.1. Some digital audio workstations (DAWs) –Figure I.2. The first portable tape player (Sony TPS-L2 – 1979) and the MP3 play...Figure I.3. An example of a home studio – source: thomann.de. For a color versio...

2 Chapter 1Figure 1.1. The Urei 1176 LN studio compressorFigure 1.2. Attack and release during compressionFigure 1.3. The shape of the compression curve as a function of the knee settingFigure 1.4. The influence of the rotation pointFigure 1.5. A DBX 1231 2 x 31 band graphic equalizerFigure 1.6. A Tube-Tech PE1C parametric equalizerFigure 1.7. The Aphex EQF 500 semi-parametric equalizerFigure 1.8. The first EMT 250 digital reverberator, dating from 1976Figure 1.9. The first convolution reverb, Sony DRE-S777Figure 1.10. A magnetic tape reverb, Roland Space Echo RE-201Figure 1.11. The main parameters of the reverberationFigure 1.12. The SPL 9629 studio de-esserFigure 1.13. Schematic diagram of a de-esserFigure 1.14. Equivalent of the de-esser with a filter and a compressor. Very oft...Figure 1.15. The principle of the expanderFigure 1.16. The DBX 1074 gate expanderFigure 1.17. The aural exciter model 602 from Aphex

3 Chapter 2Figure 2.1. Hardware–software package for a basic configuration. DAW = Digital A...Figure 2.2. A digital microphone with a headphone output and volume control (Rod...Figure 2.3. A classic configuration combining audio interface, microphone preamp...Figure 2.4. A typical setup with a digital mixer, an effect insert, a mic preamp...Figure 2.5. Configuration of a semi-professional studio. For a color version of ...Figure 2.6. A tube preamp – Tube-Tech PM1A. You can see the three tubes on their...Figure 2.7. Two ECC82 or 12AU7 (Mullard), widely used in tube preamplifiersFigure 2.8. A transistor preamp – AMS Neve 1073N. For a color version of this fi...Figure 2.9. A hybrid preamp – Universal Audio 710 Twin-Finity. For a color versi...Figure 2.10. SPL’s Fronliner hybrid preamp (preamp, compressor, limiter, equaliz...Figure 2.11. Two audio interfaces, Universal Audio Apollo Twin X Duo and MOTU 82...Figure 2.12. The different types of USB connectors found on digital audio interf...Figure 2.13. The different types of FireWire connectorsFigure 2.14. The Thunderbolt connector (USB type C)Figure 2.15. PCIe Audio Interface, RME HDSPe AES. For a color version of this fi...Figure 2.16. An example of inputs and outputs on an MOTU 828 ES digital audio in...Figure 2.17. A headphone splitter, one input, four outputs, one volume control p...Figure 2.18. An 8-channel rackmount headphone amp with two stereo inputs (Tascam...Figure 2.19. The Hear Back Pro headphone mixing and monitoring distribution syst...Figure 2.20. A two-way crossover (Monacor DN-20). For a color version of this fi...Figure 2.21. Genelec 8040 (HP: 1” and 6.5”) and 8050 (HP: 1” and 8”) speakersFigure 2.22. A pair of Yamaha NS10-M speakersFigure 2.23. The frequency response curve of an NS10-M (source: www.soundofsound...Figure 2.24. P20-40 Schlumberger or SAF amplifierFigure 2.25. A Scientelec ORTF loudspeaker on its stand with its extractable P20...Figure 2.26. A pair of Studer A3 speakersFigure 2.27. A pair of Elipson 4240 (Ball 402 + P80 cabinet)Figure 2.28. A pair of Focal Twin6 speakersFigure 2.29. A pair of NHT M-100 speakers from 1994Figure 2.30. A pair of JBL 4310 speakers from 1973Figure 2.31. The characteristics of the JBL model 4310Figure 2.32. Adam Audio A3X speakersFigure 2.33. Genelec 7050 CPM subwoofer (130 W to 24 to 120 Hz to 8” speaker)Figure 2.34. Schematic of the correct placement of a pair of proximity speakersFigure 2.35. The Yamaha A100 amplifierFigure 2.36. The Studer A68 amplifierFigure 2.37. The Amcron DC 300A amplifierFigure 2.38. The Amcron D-75 amplifierFigure 2.39. The Yamaha PX3 amplifierFigure 2.40. Mackie’s Big Knob passive controllerFigure 2.41. SPL’s Crimson 3-active controller. For a color version of this figu...Figure 2.42. Dangerous D-box controller (front and back). For a color version of...

4 Chapter 3Figure 3.1. Green area for correct microphone placement. For a color version of ...Figure 3.2. Placements to limit reflections with a cardioid microphone. For a co...Figure 3.3. Usable locations with a bidirectional microphone. For a color versio...Figure 3.4. Two removable acoustic panels (gobos) behind a microphone. For a col...Figure 3.5. Correct placements for acoustic panels (blue) with an omnidirectiona...Figure 3.6. Second solution for correct placement of acoustic panels (blue) with...Figure 3.7. Solution for correct placement of acoustic panels (blue) with a card...Figure 3.8. Solution for correct placement of acoustic panels (blue) with a bidi...Figure 3.9. A simulation of a booth with three acoustic panels. For a color vers...Figure 3.10. Some cleats of different sectionsFigure 3.11. Manufacture of the frames with the help of bracketsFigure 3.12. Acoustic absorbent cotton in rolls (Metisse) and acoustic rock wool...Figure 3.13. Placing the absorbent panel in the frameFigure 3.14. Back of frame with stapled fabric. For a color version of this figu...Figure 3.15. Placing the back. For a color version of this figure, see www.iste....Figure 3.16. Assembly of the two panels with hinges. For a color version of this...Figure 3.17. A standing panel. For a color version of this figure, see www.iste....Figure 3.18. Swivel feet attached to the base of a frame. For a color version of...Figure 3.19. Using a sound barrier (SE Electronics)Figure 3.20. A cardioid condenser microphone placed within a sound screen (Vicou...Figure 3.21. The Audio Technica AT2020 USB microphoneFigure 3.22. Frequency response curve of the Neumann U87, top, and the Rode nTi,...Figure 3.23. A Neumann U87 microphone and its spider-like suspensionFigure 3.24. A pop filter in front of a condenser microphoneFigure 3.25. Desktop voice recording. For a color version of this figure, see ww...Figure 3.26. From left to right, stand microphone, boom microphone up, boom micr...Figure 3.27. Microphones on articulated armsFigure 3.28. Placing a microphone high up with a slight tiltFigure 3.29. Lateral shift of the microphone to the right or left. For a color v...Figure 3.30. Notion of distance from the microphone, closed fists, open handFigure 3.31. Poor and good handling of a vocal microphone. For a color version o...Figure 3.32. The influence of hand position on the frequency response curve of a...Figure 3.33. Position of the monitor speaker according to the type of microphone...Figure 3.34. Voice recording configuration with a Focusrite Scarlett 2i2 interfa...Figure 3.35. Voice recording configuration with a Solid State Logic SSL 2+ inter...Figure 3.36. Two interfaces from the 2010s, the Apogee Duet FireWire and the MBo...Figure 3.37. High-end digital audio interfaces with integrated DSP processing (M...Figure 3.38. The TPB Pro Audio mvMeter 2 measurement plugin. For a color version...Figure 3.39. An HPF filter with the Avid Protools seven-band equalization plugin...Figure 3.40. A low shelf filter with the Avid Protools seven-band equalization p...Figure 3.41. A bell filter with the Avid Protools seven-band equalizer plugin. F...Figure 3.42. The Renaissance DeEsser plugin from Waves and the De-Esser plugin f...Figure 3.43. A great classic, the Urei 1176 taken over by Waves, in the form of ...Figure 3.44. A reference in the field of tube compressors, the Teletronix La-2a,...Figure 3.45. The Echoboy delay plugin from SoundToysFigure 3.46. The Valhalla Vintage Verb reverb plugin. For a color version of thi...Figure 3.47. Four performers in front of an MS pairFigure 3.48. Live configuration, one microphone per performerFigure 3.49. Configuration with two crossed bidirectional microphonesFigure 3.50. A 1.20-m active pole (Schoeps RC)Figure 3.51. An application of the 3:1 rule with three microphones placed in fro...

5 Chapter 4Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoderFigure 4.4. The Roland SVC-350 vocoderFigure 4.5. Talkbox with a synthesizerFigure 4.6. The MXR talkboxFigure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoderFigure 4.4. The Roland SVC-350 vocoderFigure 4.5. Talkbox with a synthesizerFigure 4.6. The MXR talkboxFigure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...

6 Appendix 1Figure A1.1. Sound level scales (source: Wikipedia). For a color version of this...Figure A1.2. Comparison of bel, decibel (dB SPL) and pascal (Pa). For a color ve...Figure A1.3. Psophometric diagram (weighted curve) dBA

7 Appendix 2Figure A2.1. Some models of coaxial jacks. 1) subminiature 2.5 mm mono male jack...Figure A2.2. The different contact points for the 6.35 mm jack connectorsFigure A2.3. A “Bantam” or TT patchbay cable in TRS versionFigure A2.4. Pinout of the 3-pin XLR connectorsFigure A2.5. Wiring diagram of a classic XLR cable. For a color version of this ...Figure A2.6. Wiring diagram of XLR jack adapters. For a color version of this fi...Figure A2.7. Wiring diagram for an insert cord. For a color version of this figu...Figure A2.8. Different types of USB connectorsFigure A2.9. Different USB connectorsFigure A2.10. Some Sub-D connectors and a female Sub-D/XLR breakout cable. For a...Figure A2.11. BNC male and chassis connectorsFigure A2.12. RCA male and female connectors and chassis. For a color version of...Figure A2.13. Toslink male and chassis connectorsFigure A2.14. A Toslink/Mini Toslink cable

8 Appendix 4Figure A4.1. Principle of the AB pairFigure A4.2. An AB pairFigure A4.3. Principle of the XY pairFigure A4.4. An XY pair (source: www.dpa-by-audio2.fr)Figure A4.5. The Rode NT4 XY stereo microphoneFigure A4.6. Principle of the ORTF pairFigure A4.7. An ORTF pair (source: www.harmonycentral.com)Figure A4.8. Principle of the MS pairFigure A4.9. An MS pairFigure A4.10. Principle of the Decca treeFigure A4.11. Decca tree installation (source: www.musictech.net). For a color v...Figure A4.12. Principle of the Blumlein methodFigure A4.13. A Blumlein installation (source: www.musicradar.com). For a color ...Figure A4.14. Principle of the Faulkner ArrayFigure A4.15. Principle of the sound-absorbing disk methodFigure A4.16. A Jecklin Disk installation (source: Wikipedia). For a color versi...Figure A4.17. Principle of the artificial headFigure A4.18. Neumann KU100 artificial head