Från partitur till skiva - Att spela in LYRC Orchestras stråksektion
Sammanfattning: This paper seeks to answer the question: “How does one mic, record and process string instruments in anon- classical recording, and where the end product is a soundscape not typically associated with thestringed instrument family?” A few unique challenges were dealt with along the way: How to track the stringsection, that relies heavily on the acoustics of a given room, very close in order to maximize control oversounds in post- production without losing to much of the characteristics of the instrument. Whatmicrophone positions create the ideal sound? My solutions to these challenges is the main body of text inthis paper, and my findings can be summarized as follows: overhead micing each violin and viola with largediaphram condenser microphone, micing close to the bridge with a large condenser microphone for thecelli, and in post production relying quite heavily on the audio from the room microphone captured withboth small- and large-diaphragm condenser microphones.
HÄR KAN DU HÄMTA UPPSATSEN I FULLTEXT. (följ länken till nästa sida)