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Fundamentals of Audio Production. Chapter Fourteen: Field Recording. Preproduction planning. Field recording requires additional planning as back-ups are not on-hand Redundancy in equipment, batteries, cables, recording media Checklists help avoid missed items

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fundamentals of audio production

Fundamentals of Audio Production

Chapter Fourteen:

Field Recording

Fundamentals of Audio Production. Chapter 14

preproduction planning
Preproduction planning
  • Field recording requires additional planning as back-ups are not on-hand
  • Redundancy in equipment, batteries, cables, recording media
  • Checklists help avoid missed items
  • Patience is required as field recording nearly always takes longer than expected

Fundamentals of Audio Production. Chapter 14

acoustics in the field
Acoustics in the field
  • The acoustic environment in the field differs greatly from the studio
  • Eliminating unwanted sounds requires the use of hyper-cardioid microphones
  • Controlling wind noise requires windscreen accessories for microphones

Fundamentals of Audio Production. Chapter 14

windscreens
Windscreens

Fundamentals of Audio Production. Chapter 14

recording music
Recording music
  • Recordings may be made from pre-fader sends from the FOH console sent to a recording device
  • Recordings may be assembled from parts of several performances
  • Click tracks played through monitors keep musicians playing at the same tempo during each performance

Fundamentals of Audio Production. Chapter 14

recording music1
Recording music
  • Remote trucks offer the benefits of the control room on the location
  • Trucks come in all shapes and sizes
  • The microphone signals are split at the stage box and sent simultaneously to the remote truck and the FOH console

Fundamentals of Audio Production. Chapter 14

remote truck
Remote truck

Fundamentals of Audio Production. Chapter 14

stereo recording
Stereo recording
  • Binaural dummy heads provide the most accurate stereo imaging
    • Microphones are placed inside the head’s “ear canals”
    • The stereo imaging is heard most effectively when listening through headphones

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups
Stereo recording microphone set-ups
  • Pairs of matched microphones may be used to achieve excellent stereo imaging using one the following techniques
    • X-Y
    • Blumlein
    • Mid-side
    • Near coincident
    • ORTF
    • Spaced pair
    • Decca Tree

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups1
Stereo recording microphone set-ups

Variations on the X-Y technique using cardioid microphones

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups2
Stereo recording microphone set-ups

Blumlein technique using two bi-directional microphones

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups3
Stereo recording microphone set-ups

Mid-side technique using one bi-directional and one cardioid microphone

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups4
Stereo recording microphone set-ups

Near coincident ORTF set-up using two cardioid microphones

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups5
Stereo recording microphone set-ups

Spaced pair technique using 2 cardioid microphones (left) & 2 omni-directional (right)

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups6
Stereo recording microphone set-ups

Decca tree using three omni-directional microphones

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups7
Stereo recording microphone set-ups

Boundary effect microphone

Gap to capture audio

Fundamentals of Audio Production. Chapter 14

stereo recording microphone set ups8
Stereo recording microphone set-ups

Fundamentals of Audio Production. Chapter 14

parabolic microphones
Parabolic microphones
  • Parabolic microphones are useful for capturing wildlife sounds – bioacoustics
  • Parabolic microphones are used for capturing sound effects and field sound at sporting events
  • Sound is focused by the parabolic dish into a microphone at the dish’s focal point

Fundamentals of Audio Production. Chapter 14

parabolic microphones1
Parabolic microphones

Fundamentals of Audio Production. Chapter 14

parabolic microphones2
Parabolic microphones

Fundamentals of Audio Production. Chapter 14

location recording for screen
Location recording for screen
  • The boom or “fish pole” allows the operator to place the microphone near the talent without being on-camera

Fundamentals of Audio Production. Chapter 14

fish poles
Fish poles

Fundamentals of Audio Production. Chapter 14

location recording for screen1
Location recording for screen
  • For decades, the recorder of choice for film sound was the “Nagra” reel-to-reel recorder.
    • The recorder could be synchronized with the camera using SMPTE time code.
  • Digital tape and solid state recorders now offer the same capabilities

Fundamentals of Audio Production. Chapter 14

location recording for screen2
Location recording for screen

Fundamentals of Audio Production. Chapter 14