Ben, Cucco, et al...
Recently had the privilege of recording on site a string quartet comprised of the primaries from the Midland Symphony plus a few guests...Each of the two pieces lasted 30-35 minutes, with wildy varying movements within the pieces.
What's the protocol for CD track distribution here? Each movement having its own track (which seems logical to me...) or each piece having its own dedicated 30 minute track?
FWIW: All I used was a 3 mic setup...2 ADK A51 Ser III set in ORTF, plus an omni for room and audience...all going through a PreSonus Firepod (surprisingly good preamps, FW, all that) into Samp 6.05 for tracking, brought back to main shop for editing in 7.23a. recording station set up 150 feet behind stage, in sound treated area. (Note to self: bring snake next time instead of a bazillion mic cords)
Back to topic: what's the preferred CD track assignment method?
Ken
Comments
hughesmr wrote: I remember one time back in the 1980s picking u
hughesmr wrote: I remember one time back in the 1980s picking up a CD of Ravel's Daphnis et Chloe on Decca/London ... 60-minute work ... tons of sections ... and ONE track. Needless to say, I never listened to it more than once.
That would be the Dutoit/Montreal recording... An amazing recording that is a royal pain in the @$$ to listen to for that exact reason.
The convention definitely is to put each movement on a single track so that you can get around the disc easily. Movements that run atacca have a start ID, but no pause/end track ID (like Beethoven's 5th symphony last movement).
--Ben
Yep, overall I agree. I did just do a recording of Tchaikovsky'
Yep, overall I agree. I did just do a recording of Tchaikovsky's Variations on a Rococco Theme which has several movements, many of which are only a few seconds long. In this case, I did three tracks - at the request of the producer - the theme on track 1, the exposition (or all the basic variations) on track 2 and the finale on track 3 - no track pauses of course, simply room ambience between the spots that are "music-less."
In the "old days" of CD recording, you could put a "Sub-code" fo
In the "old days" of CD recording, you could put a "Sub-code" for the really short stuff, but none of today's newer, $80 players will read 'em. (Remember SFX CDs with dozens of sub-categories that would have otherwise exceeded the 99 track limitation?)
Samplitude will still let you put those kinds of markers in there, but unfortunately hardly anyone else will read 'em, so yes, a track ID for each movement is the norm. (Some pieces may have hardly any pauses in them, so it's occasionally necessary to get out the score & double check where it should start.)
With Samp (and probably all the others) you can put 2 sec. pause times in there as well, but that's death with classical music. (and one of the reasons I got Red Roaster in the FIRST place - I was freaked out at the time that my (Adaptec cheapo software) track IDs were causing pauses/time-outs in live performances, between movements.
I remember (circa 1990?) an early $35,000 CD burner a studio client of mine had. They had a DAT master tape with track IDs written in it, and when it came time to burn the CD (blanks were $50!) , they would literally clear the facility, stop all production on everything (to avoid any possible AC glitches, power fluctuations, etc.) and PRAY when they hit the "BURN" button. They had taken a mortgage/biz loan out for the thing, if you can believe it.
Life has sure gotten easier since then!
Track each movement. Anyone who listens will be ever so thankfu
Track each movement. Anyone who listens will be ever so thankful for it.
I remember one time back in the 1980s picking up a CD of Ravel's Daphnis et Chloe on Decca/London ... 60-minute work ... tons of sections ... and ONE track. Needless to say, I never listened to it more than once.
Cheers,
Mike