Volume 9, Issue 2, April 2013
Index of content:
9(2013); http://dx.doi.org/10.1121/1.4817483View Description Hide Description
The recording of music, either voice or instrumental, is a core industry supporting the entertainment arts. The process begins with the production of music in a studio. There are a variety of studios in use today, from home studios to Foley stages.
9(2013); http://dx.doi.org/10.1121/1.4817489View Description Hide Description
The control room is used both to control the actual recording process (“tracking”) and to assemble the multiple tracks into a final 2‐channel or surround sound product (“mixing”). In a large music recording facility, mixing may be performed in a separate, dedicated room. If the product is to be released as a music album it will be sent to a mastering facility for a final check. The mastering engineer usually adds minor electronic processing, but may recommend re‐mixing certain portions before the recording is released. A third type of monitoring environment is a production studio (or “composer's room”) in which music is both created and edited. Both historical and current perspectives on control rooms are presented.
9(2013); http://dx.doi.org/10.1121/1.4817490View Description Hide Description
The Motion Picture Scoring Stage holds a unique place in the universe of recording and performance venues. Originally a necessity, the Scoring Stage has become the center of recording versatility and technical innovation over the past three decades. This piece intends to describe a short history of the stages and the included technology. The current state of the scoring/recording art and utilized technology will be examined with some examples from current projects. The approach is not scientific; it is a personal description and history from a music mixer/engineer who has resided in this business for over thirty‐five years.
9(2013); http://dx.doi.org/10.1121/1.4817491View Description Hide Description
Because of the science we have, and the abundance of affordable measurement tools, the standards of sound reproduction in general have been elevated in homes and recording facilities. However, problems remain, in the form of loudspeakers that are less good than they could have been, flawed acoustical treatment practices and misguided attempts to “equalize” rooms. Right now, there is no assurance that reproduced sound closely resembles what was heard at the time the art was created. In the end, consumers, audio professionals and acoustical consultants need to be able to anticipate whether a playback facility is likely to deliver a reasonable facsimile of an original performance, without exceeding the tolerances of normal adaptation. We certainly need more and better specifications on loudspeakers, and manufacturers with the courage to publish them.