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Some methods of recording classical music are discussed, and the development of a new
microphone configuration, called the OSS technique, is described.
0 INTRODUCTION
In past years, recording techniques for popular and
light music have influenced the recording of classical
music. In comparing old and new recordings of classical
music it is not obvious that the new recordings sound
better or more accurate. There seem to be no reasons to
use light music recording techniquesto record symphony
orchestras or chamber music groups playing in the
proper acoustical environment,
Our recording method is based on the following assumptions:
1) The sound source is balanced.
2) The sound source has the proper acoustical environment,
3) Sound source and room belong together,
Under these circumstances there should be one point
in the room where the available sound is optimal. At this
point the balance of the direct sound from the instruments and the relation between direct sound and reverberant sound are optimal,
A microphone configuration was developed to record
the sound at this point. The stereo signal from the configuration is characterized by time delay, intensity, and
frequency response differences between the two channels. Signals from spot microphones used together with
this configuration
must be time-delayed according to
the microphone distances from the stereo configuration,
An electronic compensation
signal is introduced
to
overcome the limitations of two-loudspeaker
reproduction in an average living room.
I PROBLEMS OF RECORDING
THE FACTS
MUSIC:
* Presented at the 66th Convention of the Audio Engineering Society, London, 1980 February 25-28.
1981 Audio Engineering Society, Inc.
0004-7554/81/050329-04500.75
TECHNIQUES
2.1 Polyrnicrophony
Each instrumental
group is recorded
329
JECKLIN
ENGINEERING REPORTS
is used.
2.4 Conclusion
Microphone
3 A SPECIFIC TECHNIQUE
FOR RECORDING
NATURAL
MUSIC: THE OSS TECHNIQUE
3.1 The OSS Microphone
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uae
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be-
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(in wavelengths).
The signal that
therefore
a distance-dependent
component
misleadscontains
the human
listener. Bass instruments always seem to be closer on the recording
than in real space.
That is why a complex sound source cannot be recorded accurately with cardioid microphones. Further,
astereo signal containing only intensity differences does
not duplicate the human hearing experience. It ignores
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ENGINEERING
REPORTS
A DIFFERENT
WAYTO RECORD
CLASSICAL
MUSIC
The dSS microphone in this form fulfills the requirements of the 360 technique,
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Signal
loudspeaker and one for the right. Theleft-channelsignal has to compensate at the left ear of a listener for the
unwanted sound from the right loudspeaker that reaches
theleftear.
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3.3 Compensation
lO
J.AudioEng.Soc.,
Vol.29,No.5,1981
May
l(JJ
Fig. 6. Principal
assembly.
331
JECKLIN
ENGINEERING REPORTS
lends
er time delay.
It is possible to overcome the limitations
loudspeaker reproduction
tion signals.
Spot Microphones
of two-
Combining the OSS microphone with spot microphones in the described manner allows the work to
proceed conventionally.
In addition to positioning the
spot signal between left and right with the panpot, it
must also be positioned in depth with an adjustable time
delay.
Because a conventional recording of natural music is
also improved by time-delaying the spot signals, this
technique should be used throughout.
7 REFERENCES
4.3 Compensation
Reproduction
of the Loudspeaker
musicians,
producers,
and consumers,
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OSS
sound
different
in the opinion of
rate
andrecordings
natural. The
stereo
imageand,
isnearlyspectacular,
and the sound is rich, full, and clear. Recordings made
with time-delayed spot microphones never give the impression of having been manipulated. If there is "available sound," the OSS technique seems to be superior to
all other recording methods. Most impressive are recordings of live performances,
because the public is
"embraced."
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6 CONCLUSION
Our work made it obvious that the_360 technique is
the optimal method for recording natural music.
It is of great importance to use the best possible stereo
configuration.
The stereo signal must contain intensity,
time delay, and frequency response differences between
the channels.
Spot microphones
THE AUTHOR
332