#recording 1

To whoever may be reading this, to whoever may find this, my name is Jonathan Sims. I am the head archivist at the Magnus Institute.

But this isn’t about my work. No. I have had a dream that felt too real. I may just be crazy, all this stress getting to me, but…I can’t shake this feeling that something is happening to me, that I am becoming something else.

This recording, all of this, is to keep track of myself in case something does begin to happen to me.

I refuse to be another goddamn mystery.

((Cut for length ))

???: So?

A: The heist was a success.

???: I trust there were no difficulties?

A: Nothing I couldn't handle.

???: And the crew?

A: Taken care of.

???: Excellent. Get some rest. You've earned it.

A: ...

???: We have another operation being put together as we speak and I want you to be part of it.

A: What about Blake?

???: What about her?

A: Is she also?

???: Yes, she is.

A: But why wasn't she working with me on the train op?

???: We...caught wind of a plan of hers. It seems that she was planning on running away after the heist.

A: She wouldn't!

???: You of, all of us, know of her misgivings. You know that she would.

A: ...

???: Regardless of her intentions we want her in this next operation. She plays a very important role.

A: And afterward?

???: Afterwards she can do whatever she wants. Her use to us extends only as far as this operation.

???: So?

A: The heist was a success.

...he just wanted to play and sing. That's all. He needed the stress-release without having to go out in the rain.

Today I learnt bait about Stereophonic Recording Angles, my knowledge is still a bit sketchy and if I had a bit more time I could make a few diagrams to help demonstrate this point, but for now I'm just going to write it out.

What is it?

The stereophonic recording angle is the angle in which the microphones are placed in a coincidental pair. This is be angle of coverage and the angle that is used to capture the stereo field. Usually a microphone technique such as A-B or X-Y is most appropriate for this.

The best polar pattern for this would be omnidirectional however the more distance you get by moving the microphones back the more likely it will start to sound as if you have used a cardiod microphone.

The SRA is to be compared to a photo frame, if the image is too big then the edges are compressed and pushed to the side of the frame in this case the monitors. If the SRA is too narrow then the sound is lost in the middle of the field. Getting the right balance is all about composition in just the same way as photographer would compose a picture before taking it.

Moving the microphone angle and moving them closer and nearer to the sound source will help adjust the SRA. An example of this would be if you would like to capture the conductors perspective you would increase the angle of the two microphone and bring them closer hanse capturing all of the instruments not he stage as well as getting quite a direct sound. In the case of wanting an audience perspective you can decrease the angle of the microphone to a vary narrow angle and then move the microphones as far back from the audio source as you can without letting them get too squashed in the stereo field.

Why do we use it?

When we are recording in stereo it is important to get a good sense of localisation, and to make sure that the stage is accurately replicated from within the recording. For example the musicians on the right appear to be on the right in the recording.

This is different to mixing in mono as panning could be used to adjust the position of the musicians. In a single stereo recording it is important that all of the elements are replicated together in the right place before mixing as we would only be dealing with one track opposed to lots that have been multi-tracked.