how to record the sound of works of art robert hermann diplom tonmeister email:...

How to record the sound of works of art

Robert HermannDiplom Tonmeister

email: robert.hermann@t-online.de

1 ) does separate sound documentation make sense ?

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

3 ) acoustic influence of the exhibition room

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

3 ) acoustic influence of the exhibition room

4 ) basic types of microphones

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

3 ) acoustic influence of the exhibition room

4 ) basic types of microphones

5 ) MS recording and decoding

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

3 ) acoustic influence of the exhibition room

4 ) basic types of microphones

5 ) MS recording and decoding

6 ) useful and professional recording tools

1 ) does separate sound documentation make sense ?

2 ) sound and size of objects

3 ) acoustic influence of the exhibition room

4 ) basic types of microphones

5 ) MS recording and decoding

6 ) useful and professional recording tools

7 ) the importance of post production

1 ) does separate sound documentation make sense ?

?

Three categories of importance of sound:

1 ) sound is an integrated part of the work of art and can be modified by the mechanical construction ( see example 1 )

2 ) sound is an integrated part of the work of art and can not be modified by the mechanical construction ( see example 2 )

3 ) sound is a random product of the mechanical construction

2 ) sound and size of objects, two examples

location: TINGUELY MUSEUM BASEL

recording date: june 2005

Example 1: small objectMartin Walde "Potion"one stereo microphone perspective is able to show all details

Close microphone positions above every single pot give even more detailed information

Example 2: large object Christiaan Zwanikken: „Frantic diggers“one microphone perspective can‘t show all details

Two audio examples of close microphone positions combined with corresponding photographies

main microphone position for an impressionof the complete sound in the room

3 ) acoustic influence of the exhibition room

- the room acoustics is always part of the sound we hear

- interaction of sound source and room acoustics is very important for musical performances

example 1: church organ without church

example 2: church organ in gothic church

acoustic influence of the exhibition room

- for the audio documentation of sounding objects we should keep the room influence as low as possible

- therefore we need suitable microphones

4 ) basic types of microphones

4.1 omnidirectional

An omnidirectional microphone will pick up the same amount of sound and generate the same output signal independently of the direction of the sound.

4.2 bidirectional

A Figure-Eight type microphone picks sound from the front and rear in the same amount but phase reversed.

4.3 cardioid

The cardioid microphone shows a heart-shaped polar pattern and has the least signal output for sound sources directly behind the microphone.

5 ) MS recording and decoding

Mid Side technique employs two microphones aimed directly at the sound source.

The Mid mic can be of any pattern, but is most often of a cardioid or hyper cardioid design.

The Side mic is a bi-directional or figure eight pattern.

The M/S matrix takes the sum information M + S, and sends it to the Left channel, the difference information M - S, is sent to the Right channel

the mono sum is M information only:mono = Left + Right = ( M + S ) + ( M - S ) = 2M

OK :-( but what’s the practical use of that ??

the signals can be matrixed in post production

the relative gain of the two signals can be adjusted to provide varying degrees of stereo width

you get two acoustic perspectives with a simple 2 channel recording

6 ) useful and professional recording tools

recording tools should be...

.... easy to use

recording tools should be...

.... easy to use

.... easy to transport

recording tools should be...

.... easy to use

.... easy to transport

... and have professional sound quality

Sometimes you only have professional sound quality

:-(

Recording equipment in Basel

But sometimes you have all of it

:-)

High quality mobile recording equipment ( example )

digital recordermicrophone inputs, 48V phantom powerrecords on compact flash cardsaudio transfer to computers via USBaudio resolution 24bit, 48kHz, standard WAV format

Integrated stereo microphone for MS recording

Capsule 1: hypercardioid for mid / mono channelCapsule 2: bidirectional for side / ambient channel

7 ) The importance of post production

7 ) The importance of post production

microphones do not „listen“ the same way we do

7 ) The importance of post production

microphones do not „listen“ the same way we do

careful improving of signal quality gives a betterimpression of the original sound

7 ) The importance of post production

microphones do not „listen“ the same way we do

careful improving of signal quality gives a betterimpression of the original sound

cooperation between sound and video documentationis necessary ( editing, DVD-authoring )

7 ) The importance of post production

microphones do not „listen“ the same way we do

careful improving of signal quality gives a betterimpression of the original sound

cooperation between sound and video documentationis necessary ( editing, DVD-authoring )

international standard for storage media would be helpful