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- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master. Recording and Voice Processing 2 focuses on live and studio voice recordings. It presents the various pieces of hardware and software necessary for voice recording, and details possible sound channel configurations based on recording location. An actual recording, and its various constraints, is then considered, addressing the pitfalls to avoid and the strategies to use in order to achieve a satisfactory result. Different special effects (vocoder, auto-tune, Melodyne, etc.) that can be used on the voice, whether spoken or sung, are also presented.
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Table of Contents
Cover
Title Page
Copyright
Preface
Target audience
Structure and contents of the book
Conventions
Vocabulary and definition
Acknowledgments
Introduction
1 Processing Hardware and Software
1.1. The materials
1.2. The software
1.3. Conclusion
2 Configuration and the Audio System
2.1. The capture and processing chain
2.2. Microphone preamplifiers
2.3. Digital audio interfaces
2.4. Multi-channel headphone amplifiers
2.5. Monitoring speakers
2.6. Amplifiers for passive speakers
2.7. Monitoring controllers
2.8. Conclusion
3 Voice Recording
3.1. Artist, comfort and environment
3.2. The choice of microphone
3.3. Constraints and accessories
3.4. Positioning the microphone
3.5. Feedback
3.6. The voice-only mix
3.7. Recording multiple performers
3.8. Recording a choir
3.9. Recording a voice-over
3.10. Conclusion
4 Special Effects
4.1. The vocoder
4.2. The talkbox
4.3. Auto-tune
4.4. Melodyne
4.5. Voice processors
4.6. Finally
Conclusion
Appendices
Appendix 1 Sound Unit
A1.1. Introduction
A1.2. Bel and decibel
A1.3. The different variants of the dB
A1.4. Conclusion
Appendix 2 Audio Connectivity
A2.1. Introduction
A2.2. Coaxial jack
A2.3. XLR plug
A2.4. XLR cables and adapter jacks
A2.5. USB connector
A2.6. Sub-D connector
A2.7. BNC connector
A2.8. RCA connector
A2.9. Toslink connector
A2.10. Conclusion
Appendix 3 Audio Processing Plugins
A3.1. Introduction
A3.2. Compression plugins
A3.3. Equalization plugins
A3.4. De-Esser plugins
A3.5. Delay and reverb plugins
Appendix 4 Microphone Pairs
A4.1. Introduction
A4.2. The AB pair
A4.3. The XY pair
A4.4. The ORTF pair
A4.5. The MS pair
A4.6. The Decca tree
A4.7. The Blumlein method
A4.8. The Faulkner Array
A4.9. The sound-absorbing disk method
A4.10. The artificial head
A4.11. Conclusion
Appendix 5 Types of Software Plugins
Glossary
References
Hyperlinks
Software publishers
Hardware manufacturers
Talkback
Plugins
Acoustics
Vocoder
Home Studio
Sound effects
Audio filtering
The voice
Audio software tutorials
Interfaces and communication
General sites
Index
End User License Agreement
List of Tables
Chapter 1
Table 1.1.
Some studio compressors
Table 1.2.
Some studio equalizers
Table 1.3.
Sabine absorption coefficients according to materials and frequencies
Table 1.4.
Some reverbs, delays and echo chambers for studios
Table 1.5.
Some studio de-essers
Table 1.6.
Some studio expanders
Table 1.7.
Some studio enhancers
Table 1.8.
Software plugins for digital audio workstations
Chapter 2
Table 2.1.
A selection of preamplifiers
Table 2.2.
Some digital audio interfaces classified by the manufacturer
Table 2.3.
Some multichannel amplifiers or splitters for headphones
Table 2.4.
Characteristics of the Genelec 8040 and 8050
Table 2.5. Specifications of the Studer A1, A3 and A5 loudspeakers (source: Stud...
Table 2.6.
Characteristics of the Adam Audio AX series
Table 2.7.
Some proximity speakers
Table 2.8.
Some monitoring controllers
Chapter 3
Table 3.1.
Microphones costing less than 400 euros
Table 3.2.
Microphones costing between 400 and 800 euros
Table 3.3.
Microphones costing more than 800 euros
Table 3.4.
Digital microphones (USB)
Table 3.5. Advantages and disadvantages of positioning the microphone in relatio...
Chapter 4
Table 4.1.
Some vocoder plugins
Table 4.2.
Some models of speech processors
Appendix 2
Table A2.1.
USB type-A and type-B pinout
Table A2.2.
USB mini-A and micro-B pinout
Appendix 3
Table A3.1.
Some compression plugins
Table A3.2.
Some equalization plugins
Table A3.3.
Some De-Esser plugins
Table A3.4.
Some reverb plugins
Appendix 5
Table A5.1.
Characteristics of plugins according to their extension
Guide
Cover
Table of Contents
Title Page
Copyright
Preface
Introduction
Begin Reading
Conclusion
Appendices
Appendix 1 Sound Unit
Appendix 2 Audio Connectivity
Appendix 3 Audio Processing Plugins
Appendix 4 Microphone Pairs
Appendix 5 Types of Software Plugins
Glossary
References
Index
End User License Agreement
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Recording and Voice Processing 2
Working in the Studio
Jean-Michel Réveillac
First published 2021 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc.
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licenses issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned address:
ISTE Ltd27-37 St George’s RoadLondon SW19 4EUUK
www.iste.co.uk
John Wiley Sons, Inc111 River StreetHoboken, NJ 07030USA
www.wiley.com
© ISTE Ltd 2021
The rights of Jean-Michel Réveillac to be identified as the author of this work have been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.
Library of Congress Control Number: 2021944438
British Library Cataloguing-in-Publication Data
A CIP record for this book is available from the British Library
ISBN 978-1-78630-738-5
Preface
If you want to know if this book is for you, how it is constructed and organized, what it contains and what conventions will be used, you’ve come to the right place, this is the place to start.
Target audience
This book is intended for all those who, amateur or professional, are interested in sound recording, recording and mixing in the field of singing and voice or musicians, performers, commentators and composers.
The work presented in some sections requires minimum knowledge in the field of acoustics and digital audio.
You must have a good knowledge of your computer’s operating system (paths, folders and directories, files, names, extensions, copying, moving, etc.) and know how to handle a DAW (Digital Audio Workstation), such as Avid Pro Tools, Apple Logic Pro X, Ableton Live, Steinberg Cubase, FL Studio, MOTU Digital performer, Cockos Reaper, etc., or a digital integrated studio, such as Tascam DP-03SD, Tascam DP32, Roland VS-1680, Akai DPS16HD, Yamaha AW4416, etc.
Structure and contents of the book
This work is composed of two volumes:
1) history and generalities;
2) studio work.
Volume 1 presents a preface, specifying the contents and the writing conventions used, then an introduction followed by four chapters, a conclusion and five appendices:
– recording history;
– voice;
– microphones;
– acoustic environment.
The conclusion summarizes the main topics discussed and introduces the concepts that will be addressed in the second volume.
Appendices 1–5 provide some additional information. You will find in this order:
– sound unit;
– audio connectivity;
– audio processing plugins;
– tube and JFET mic amplifiers;
– microphone pairs.
Volume 2 presents a preface and an introduction identical to those of Volume 1 followed by four chapters, a conclusion and five appendices:
– processing hardware and software;
– configuration and audio channel;
– voice recording;
– special effects.
Appendices 1–4 are taken from Volume 1 to complement the previous chapters by including:
– sound unit;
– audio connectivity;
– audio processing plugins;
– microphone pairs.
Appendix 5 of Volume 2 provides details on the types of software plugins available from different vendors and operating systems.
The conclusion sheds light on the whole book and gives a brief overview of the future evolution of voice recording.
Each volume can be read separately. While there are concepts that are dependent on another chapter, references to the relevant sections are given. However, the first two chapters of Volume 1, devoted to the history of recording and to the human voice, provide a contextual basis for the understanding of several notions that you will find in the following chapters.
If you’re a novice on the subject, I strongly advise you to read them first, to discover the basics of the subject of this book.
For the others, I hope that you will discover new notions that will enrich your knowledge.
At the end of each volume, you will find a reference list and a list of Internet links.
A glossary is also present; it will explain some acronyms and terminologies very specific to sound recording, recording and mixing.
Conventions
This book uses the following typographical conventions:
Italics, which are reserved for important terms used for the first time in the text which may be present in the glossary at the end of the book, mathematical terms, comments, equations, expressions or variables.
Remarks are indicated by the presence of the keyword: NOTE. They complete the explanations already provided.
The figures and tables all have a legend that is often useful for understanding.
Vocabulary and definition
As with all techniques, voice recording has its own vocabulary. Certain words, acronyms, abbreviations, initialisms and proper names are not always familiar and will be included in the glossary.
Acknowledgments
I would especially like to thank the ISTE Ltd team and my editor Chantal Ménascé, who trusted me.
Finally, I would like to thank my wife, Vanna, and my daughters Océane and Léa who supported me throughout the writing of this book.
August 2021
Introduction
As you may have discovered in Volume 1 of this book, voice recording and voice processing have been around for several decades. During the 20th century, the techniques and means of capture rapidly evolved from an environment that was analog and electromechanical, then electronic, to digital technologies which currently allow an almost systematic dematerialization of the transcription and archiving chain.
The computer and the appearance of digital audio processing stations, mixing editors and processing plugins have become indispensable, imposing new standards.
Figure I.1.Some digital audio workstations (DAWs) –
source:www.musicradar.com. For a color version of this figure, seewww.iste.co.uk/reveillac/recording2.zip
The predominance of the Internet and networks has shaken up the entire music industry, from sound recording to distribution to the final customer. The listener has changed their relationship with the broadcasting medium, seeing the disc, the tape, the walkman and soon the CD or even the MP3 disappear, having only a subscription to a streaming platform (Spotify, Deezer, Apple Music, YouTube Music, Amazon Music, etc.).
There are some nostalgists who still defend the vinyl record, which is making a comeback, but it is far from being the most widespread medium. The worldwide invasion of smartphones and the constant evolution of the speed and quality of networks has quickly changed habits, making obsolete many technologies that were considered innovative only a few years ago.
Figure I.2.The first portable tape player (Sony TPS-L2 – 1979) and the MP3 player (Apple iPod – 2002)
In this second volume, more oriented towards recording, voice mixing and studio work, I will start by describing the hardware and software tools that are effective in recording and include them in the audio chain that will support them.
To continue, I will present several examples of recording studio configurations, from the most modest to the most advanced.
In this context, I will approach sound recording, without neglecting the comfort of the performer and the management of their immediate environment, within which will be placed the various essential materials, respecting the rules necessary for a correct recording.
Figure I.3.An example of a home studio – source: thomann.de. For a color version of this figure, seewww.iste.co.uk/reveillac/recording2.zip
To go further, I will study the constraints related to the recording of a group, a choir or a voice-over.
Once the recording has been made, it will be time to process it by implementing different processes during the mixing process that will ensure a correct sound rendering while respecting the style and coloring that you wish to impose.
To conclude, I will examine the sound effects or possible corrections that can be made to finalize your project.
I hope that the four chapters that make up this second volume will enrich your knowledge of vocal recording and enable you to make quality recordings that respect your personal feelings and style.
1Processing Hardware and Software
In this chapter, I will detail all the tools that can be used during a sound recording or during the mixing of a vocal part, whether it is a voice-over, dubbing or singing.
There are a multitude of devices that can be used to shape, modify and improve the sound of the voice. In Chapters 2 and 3 of Volume 2, we will see how to make the best use of the possibilities of each of them.
1.1. The materials
In a recording studio, there are many electronic systems that are part of the audio chain that is necessary for mixing. A few years ago, they were all exclusively present in the form of electronic racks; today, they can also be found in the form of software plugins1, as can the mixing console, which can also be entirely virtual, in the form of a DAW (Digital Audio Workstation2).
1.1.1. The compressor
As its name indicates, the compressor generates compression, one of the most popular and effective treatments used by sound engineers. Its principle is simple; it brings the level of a sound signal to a predefined value without the operator having to intervene to adapt it to the desired value according to its volume variations.
Compression modifies the quality and the perception that we can have of a sound signal; this is due to its essential action on the attack and release.
It is used in practically all areas of the music production chain, whether it be during sound recording, mixing or even broadcasting.
Before the advent of compressors, the sound engineer or technician had to vary the volume in relation to the different fluctuations of the incoming sound signal.
It was in the 1950s that the first compressors appeared. They were first developed for radio, although the first-level limiters were created in the 1930s, a little after the development of the first vacuum tubes.
It was not until 1960 that recording studios used them regularly.
Figure 1.1.The Urei 1176 LN studio compressor
A compressor acts according to several parameters: threshold, ratio, attack, release and make-up. We can also add some optional features like knee adjustment, the limiter, the side chain, etc.
The threshold is expressed in decibels (dB). Below this threshold, compression is not active and the sound message is not transformed.
When the threshold is exceeded, dynamic compression is activated and the other parameters become active.
1.1.1.1. The ratio
This expresses the proportion of compression that the sound message will undergo. The greater it is, the greater the compression.
Let x be the number of decibels above the threshold; each time x is exceeded by n dB, the compressor will only let through y dB (the part corresponding to what is below the threshold).
x:y represents the ratio or compression rate.
The following equation expresses the output level of a compressor:
with:
no: output level in dB
ni: input level in dB
s: threshold in dB
x: numerator of the ratio
y: denominator of the ratio
Let us take an example:
With a threshold of 15 dB, a ratio of 2:1 and an incoming signal of 17 dB, we have:
The compressor will reduce the signal to 16 dB at the output.
