Recording Techniques
Microphone Techniques:
There are no set ways or rules in which a sound source can be recorded to achieve the desired outcome (Huber & Runstein 2013, p597). However, there are many techniques and suggestions collated by producers and engineers that can be used to better understand how these techniques are used to achieve specific results. The most efficient way of obtaining this knowledge is through practice as Bruce Bartlett (2013) states, “There’s no substitute for Hands-on experience.” However, in order to create a framework, one must devise a place in which to begin experimenting. This can be achieved through research and analysis in order to choose from the tried and tested methods favoured by professional producers.
The following analysis looks at the recording techniques that will be considered for the classical piece. The analysis focuses primarily on Stereo techniques. Essentially, using stereo techniques allow both the frequency range to spread across separate microphones with one focusing on the higher end and the other on the lower end. As opposed to single mic'ing, these techniques provide more flexibility in terms of creating a wide stereo image, natural EQ and obtaining a more detailed understanding of how multiple microphones impact the recording of a sound source.
AB Technique
The AB or spaced technique is a flexible approach to creating a stereo width that can be altered depending on the distance between the microphones (Corbett, 2014). The control of the stereo width is the reason for choosing this technique. This stereo technique can potentially bring out a wide sound while maintaining the full-bodied tone of the instrument. However, it is important that the microphones are distanced carefully as having them too far apart results in a loss of mids which can make the instruments sound hollow while, having them too close together can cut out the broad spectrum of an instrument (Corbett, 2014). The key with this technique will be to spend time experimenting with the positioning of these microphones to ensure a full, equal and pleasing tone is obtained. This technique will be practiced on all acoustic instruments. However, the primary application will be on the violins as the violin performance will be carried out by 2 violinists simultaneously and so, this application will be used in an attempt to separate the recordings to provide more control of their individual levels within the mix. Bruce Bartlett (2005, p7)further states that this technique can provide a warm ambience within a classical setting. As the violins play the lead part in this piece, applying this technique may enhance the warmth that reference refers to and potentially improving the aesthetic value of the piece.
X/Y Technique
This technique differs from the AB pair as the stereo image is created through the levelling of each microphone as opposed to the time it takes for the sound waves to reach the microphone (DPA microphones, 2015). The benefit of this technique is that it significantly reduces the risk of phase cancellation and so, it may produce a quicker set up that the spaced technique. However, as DPA Microphones (2015) further states, the technique cannot produce a wide stereo technique. This method will therefore be primarily considered for the acoustic guitar recording as it is much smaller than the piano an dual violin set up. The approach of this technique is to use the centre mic to pick up the body of the guitar whilst having the off-axis mic focusing on the neck of the guitar which will potentially aide the clarity of the recording.
M/S
The M/S technique is a very different approach in comparison to the AB and X/Y techniques. This process consists of a bidirectional and a pencil microphone. The pencil mic focuses on picking up the body of the sound source while, the side mic (bidirectional) picks up the highs and lows, creating a wide stereo image. However, this process is not complete during the recording stage. This may be the most flexible approach to creating stereo width as the next process involves duplicating the Side mic and hard panning them opposite sides (Keller, 2011). Essentially, there are now 3 tracks of the recording to incorporate within a mix. This technique will be considered for all positions. However, it may be most preferable to the guitar recording as the instrument is much smaller and therefore, positioning the microphones around this instrument may be more manageable than positioning around the upright piano. The placement of these techniques in relation to the sound source will be one of the many considerations that will need to be taken into account when practicing these techniques.
ORTF
Similarly to the AB and X/Y position, ORTF uses two identical microphones that effectively mimic the distance between ears on the human head (Corbett, 2014). The difference however, is that, the microphones are angled at 110 degrees, 17cm apart while facing towards the sound source. This creates the advantage of a wider stereo field that the X/Y technique and therefore may be more appropriate towards gaining a bigger sound from the acoustic instruments. The difficulty with this technique is that when placed incorrectly, it can results in phase cancellation, making the sound source much smaller/thinner than intended and so, this technique may require a longer setup when obtaining a complimentary recording. Steve Savage (2011) explains the usefulness of finding an easy way to make the setup quicker. The simplest way of achieving this will be through the use of a tape measure and so, this will be a required t tool to ensure this technique is successfully carried out.
Placement
The main consideration of these techniques is to ensure the aesthetic value of the classical piece is maintained during the application of the chosen recording techniques. Huber & Runstein (2013) further express the use of various microphone placement techniques that may influence the decisions made during the experiment. These placements include; distant, ambient and closed microphone techniques. The concept behind each approach is exploring how the distance between the microphone and the sound source effects the recording. For example, distant mic'ing produces a coloured and spaced tone to a sound source due to the amount of reflections the sound source hits before reaching the microphone. The benefit of distant mic'ing with regards to this project is that it replicates the natural ambience commonly found in classical music (Senior, 2008). However, as the studio is acoustically treated, the ‘flat’ sonic environment may render this technique as irrelevant. An easier and more controllable approach is through processing an appropriate reverb/delay thats suits the genre of the piece. Care should also be taken when considering the closed mic approach. Close mic'ing has a significantly increased direct signal. This contrasting approach essentially picks up the clarity and full spectrum of the sound source. This approach should be taken with care as Huber & Runstein (2013) explain, “Miking too close can colour the recorded tone quality of a source, unless care is taken and careful experimentation is done.” This statement is an essential asset in terms of making appropriate utilisation of the recording studio within the given timescale. The key will be utilising the chosen technique while applying room for further experimentation and maintaining a consistent approach that always keeps the outcome in mind.
