I’m working in my final project of my university that is about choral recording, which I divided in four parts:
1) Analysis (choir – recording location)
2) Acoustic: we measure acoustic factors that are directly related with this type of recording:
• Early Decay Time (EDT),
• Reverberation Times (T10, T20, T30)
• Clarity (C80), Definition (D50)
• Speech Time Index (STI)
• % Articulation Loss Consonants (%ALC), which are going to be presented next for each measure point.
These measurements were made according get a proper reverb for the recording, and find points where the clarity of the speech would be the best.
3) Electro Acoustics
In this part we chose de mic techniques according to the results of the proper acoustic analysis.
The techniques used here where:
XY
AB
Well, this was a small resume of what I’ve been doing the last months.
Now, my question is for the following part of the project:
4) Master Production
This part is divided in Edition, Mix and mastering.
We work with a choir without accompanied instruments.
The instruments were added later
What I need to know is which elements are fundamental or is there a sequence to follow in the part of MASTER PRODUCTION ( Edition, Mix and Mastering). And if exists techniques about Edition,Mix and Mastering.
I remind you that this is just for choral music, totally different from the pop/rock recording.
I hope that you could help me with these questions
Sincerely, Jose Pinto C
Comments
ojos, post: 220279 wrote: We work with a choir without accompan
ojos, post: 220279 wrote:
We work with a choir without accompanied instruments.
The instruments were added later
I hope the lead vocal has perfect pitch, it would be a tuning nightmare to add instrument later..
ojos, post: 220279 wrote:
And if exists techniques about Edition,Mix and Mastering.
The first thing I'd like to clarify is that those 3 steps are totally different discipline. Recording / editing and mixing / mastering. I would never ask a question about the 3 together.. Each has thousands of technics but the most important and maybe the only common thing is to react to what you have. Never assume anything needs to be done before listening and evaluat what you have. Like you do for the room to decide how to place the mics, editing, mixing and mastering may not need much to be done if the recording phase was done perfectly...
I’d not thought about that but that’s a really important point.
I’d not thought about that but that’s a really important point. It’s common for choirs to end up in a different key with a fixed pitch accompaniment. Ab and a bit ending in Gb and a bit will be impossible, ant then you’ll be into pitch shifting. I’d be having some doubts on this project. Your supervisor seems a bit, er, detached for forum folk like us to be the first to ask questions. UK unis would have done some adjustments before you got going. Fixing problems with a degree riding on it is bad process and poor planning here.
I'm afraid that I am totally stumped on some elements of this, a
I'm afraid that I am totally stumped on some elements of this, and what you are talking about is not at all clear - and my first choir recording was in 1978. Maybe it's a country thing - but reverberation times here tend to be in RT units and RT60 (as in the time taken to get down to 60dB reduction) is what I have heard of. You are using clarity and definition scales - never heard of those either. Speech Time Index? No idea. Same with % Articulation Loss Consonants. I understand X/Y vs A/B, but they are very broad starting points and A/B is rarely talked about now, but other variants are - all the time? Edition, Mix and Mastering? Never heard of Edition?
I could of course Google all this and easily determine the context, but so much of your final project seems miles away from the reality of recording ensembles with a natural acoustic. Surely by this time in the qualification you know which elements are absolutely essential. The thing about clarity, for example. Spaces with extended early reflections then lots of reflections wrecks SOME music, but enhances others - Latin historic works for example use vowel sounds that survive cathedrals much better than works such as Faure, which seem to require precise diction in many works. Modern works using English can be quite tricky in larger spaces - which I assume you know, but your headings have me really confused.