Recording Orchestra and Other Classical Music Ensembles

Richard King

• Publisher: Routledge
• Year: 2016
• ISBN:
  9781317520801
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Classical Music

Recording Orchestra and Other Classical Music Ensembles explores techniques and methodologies specific to recording classical music. Whether a newcomer or a seasoned engineer looking to refine their skills, this book speaks to all levels of expertise and covers every aspect of recording symphonic and concerto repertoire, opera, chamber music, and solo piano.

With a focus on the orchestra as an instrument and sound source, this book features sections on how to listen, understanding microphones, concert halls, orchestra seating arrangements, how to set up the monitoring environment, and how to approach recording each section of the orchestra. Recording Orchestra provides concise information on preparing for a recording session, the role of the producer, mixing techniques, and includes a "quick-start" reference guide with suggested setups aimed at helping introduce the reader to the recording process.

A companion website, featuring audio examples of various techniques, reinforces concepts discussed throughout the book.

The content of the book includes:

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• Clear, practical advice in plain language from an expert in classical music recording, multiple Grammy award winning recording engineer, and university professor

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• The "secret of recording": a collection of practical recording techniques that have been proven to be highly successful in the field, on many occasions

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• Never before published information written by an industry veteran with over twenty five-years of experience in classical music recording

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• Specific techniques and strategies for recording orchestra, opera, wind symphony, chorus, string quartet, and other common classical music ensembles.

Part I

Getting Started

1

Introduction

There is an expansive range of accepted practices in audio engineering throughout the recording industry, and this highly subjective field is guided by individual taste and consumer expectation. In popular music production, for instance, one engineer might prefer a “bright” mix, while another might choose a “warmer” or darker presentation, and both approaches may be entirely valid. I like to draw on metaphors from the culinary discipline, as both audio recording and preparing food are executed “to taste”. For instance, what exact measure constitutes a bright mix? This is a subjective value, just as how salty or spicy is the stew? How much garlic is too much garlic, or how much reverb is too much reverb? My point here is not that garlic and reverb have much to do with each other, rather that these questions of preference in audio, like food, will yield a wide range of responses when presented to a large group of people.

Newcomers to the field of audio engineering will begin to develop a certain personal aesthetic over time, which resides within a “window of acceptability” that will satisfy most listeners. A general style or methodology must be developed that is not “bland”, but at the same time not too salty or spicy. This may take years to narrow down and refine, but this is a natural course. These very basic sonic attributes are mentioned here only as examples, while more specific points will be addressed throughout the book. Except for a few overlapping procedures, most recording techniques used in classical music production are quite different from those used in popular music. As such, the text will follow a narrow scope that is more pertinent to the classical music genre. That isn’t to say that these techniques cannot be adapted to pop music recording, because I have had a certain measure of success applying these same techniques to jazz and pop projects, with certain modifications along the way, as needed. The subsequent chapters will certainly give newcomers a head start, and some basic guidance as they settle in on a preferred method of audio recording.

1.1 Schools of Thought on Orchestral Recording

Several different approaches exist on how to record classical music. These various techniques have been in use for decades, and each is valid in its own way. An overview of a few examples follows in the next pages. The takeaway is that any technique can work well as long as the engineer truly understands the functionality of that particular approach, and can properly master it, thereby producing a natural result. I forget who said it first (it wasn’t me, although I say it often), that in classical music recording, we are “trying to create the illusion of reality”—and to that end, we may break the rules along the way, but as long as we fully understand those rules, we can compensate for any unnatural effects of each “transgression”.

1.2 Creating the Overall Picture from One Perspective

In this approach, the goal is to carefully position a main microphone system so that a satisfactory general balance of the ensemble is captured along with an appropriate amount of room sound from the hall, or direct to reverberant ratio [1.1]. This set of main microphones would then be complemented with other “supporting” microphones, which are placed closer in to the sources, and introduced into the mix at a lower level so that the main sound is primarily that of the principal pickup. A great advantage to this approach is that the resulting balance should be quite close to that which the conductor hears when standing on the podium. This approach offers a natural perspective, whether it is at a more intimate or more distant placement, with purity in signal, as long as additional elements are introduced at a conservative level. The disadvantage of this approach is that more time is required, and more experience is necessary for optimizing the position of the microphones. Careful listening to a dress rehearsal or sound check “over the microphones” is required to ensure the best placement has been achieved.

1.3 Combining Two or More Main Microphone Systems

Utilizing a pair or “system” of main microphones together with a more distant, and normally wider pair of microphones is another common approach. In this case, the two (or more) pairs can be combined at varying amounts to achieve an appropriate sum of clarity and reverberation or “bloom” from the hall. For recordings in which the engineer is unsure of the characteristics of the hall, or when very little time is afforded for a sound check, this may be an informed approach. One risk with this approach is that the result may simply yield the collective perspectives of “too close” and “too far”, rather than a well-blended, natural sounding presentation. Also it should be kept in mind that the overall sound might become less defined, as more and more main microphone systems are integrated at roughly equal levels. This may be, in fact, the desired result.

1.4 Using Close Microphones as the Principal Audio Capture

This technique has been used for many years, and is still common to some engineers and recording teams. The idea is to capture each section of the orchestra as separate elements, combining the signals at appropriate levels to achieve a suitable balance, and then a pair (or more) of room microphones is introduced to fill in the sound of the room, thereby “gluing” the entire presentation together. This technique allows for more control and flexibility in the resulting sound, and therefore might be considered an appropriate technique for live recording where no time has been afforded to check the sound and balance before the concert. The downside to this approach is that more work will be required to create a “natural” sound, in terms of perspective and blend.

1.5 Other Classical Music Ensembles

As is the case with orchestra recording, string quartets, piano trios, and other chamber groups can be equally discussed in the same manner. The recording technique might be based on an initial assessment of a main pair or system, with a great deal of time spent moving the microphones up, down, in, and out, before considering the addition of any supporting microphones. Alternatively, a more controlled approach may be preferred—balancing a series of microphones placed close to the instruments, and supplementing with a pair of room microphones. Recording solo instruments such as piano or violin can be a very complex or incredibly simple process, depending on the techniques implemented, and the acoustical properties of the recording venue.

It is no wonder that aspiring audio engineers can become quite confused and even discouraged as they experiment on their own. It is the intent of this book to provide a starting point for recording each ensemble type, and to offer clear and simple guidance on how to make well-balanced, commercial-quality recordings with repeatable results.

Various techniques and approaches will be discussed and evaluated in an objective manner, so that the reader may experiment with all the available tools and have the chance to form their own conclusions regarding the relative success of each approach. All of the suggested techniques come from real-life situations and are designed to either leave certain options open in post-production, or simply to help carry an engineer through a difficult session. The methods are all practical and well proven for surviving in the field and making high quality recordings on a consistent basis.

1.6 Chapter Summary

Although there are many ways to approach classical music recording, it is the end result that is truly important—a mostly accurate capture of a large ensemble that generates a compelling listening experience. I say “mostly accurate”, as in certain cases we may be trying to present an enhanced experience, with a “larger than life” presentation. In other words, enhanced bass, a wider image, extra reverb, clarity in low level details, and slightly exaggerated solo levels and soloist balances are all important areas of attention in modern recording. This approach will help solve the problem of how to capture the experience of hearing a great orchestra in a wonderful hall, so that it translates as best as it can over good quality loudspeakers or a decent pair of headphones. Anyone who has faced the exhilarating though somewhat terrifying experience of standing a few feet behind the conductor on the stage of a large ensemble performing at full volume, will understand how difficult it is to try and recreate this memorable event, even with a good selection of professional microphones and a decent playback environment. For me it was during a recording session in October of 1992, with Esa-Pekka Salonen conducting the Los Angeles Philharmonic Orchestra in Royce Hall, UCLA. I will never forget this incredibly vivid and breathtaking moment.

1.7 Reference

[1.1] Beranek, L. L. (1986). Acoustics, Acoustical Society of America, New York.

2

How to Listen

Loudspeakers, Headphones, and Listening Environment

While it may seem obvious, it should be noted that the first step in learning how to make a recording is to learn how to listen. The popular audio term “Golden Ears” is actually a misnomer, as it implies that certain audio specialists are born with superhuman hearing. Almost everyone starts out with about the same level of hearing ability or “sensitivity”—the key is to train the brain so that it can most effectively decipher the signals received by the ears. This chapter sets the groundwork for preparation as an audio practitioner and begins with a discussion of sonic characteristics of sound, followed by listening to existing recordings, assessing the listening room, and evaluating audio over live microphones at a recording session or the dress rehearsal of a concert event.

2.1 Learning to Listen

When I was quite young I can remember my fifth grade teacher asking the class to close their eyes and take note of the sounds around us as an exercise in aural “awareness”. I also remember thinking that it was a waste of time, but fortunately since the age of eight I have somewhat refined my opinions on many subjects including music and sound.

Most humans prioritize vision as the dominant sense, while the incredibly powerful sense of hearing tends to be underutilized [2.1]. Think about it—the normal field of peripheral vision extends to a total of 180° in the lateral plane, and less in the vertical dimension, and each eye comes equipped with its own blind spot. The ears, however, capture sound from all around us, with increased sensitivity in high frequency above ear level in front and to the sides of the listener. Of course there is difficulty in localizing sound directly behind the head, but we learn how to recognize this attribute as children, and are therefore able to adapt. As a warning system, the ears can help us avoid stepping into unseen traffic, and can alert us when a pizza should be removed from the oven even when we might be relaxing in the next room. Many subtle aural cues go completely unnoticed on a daily basis by normal listeners. The sound is “heard”, but not “observed”. One of the greatest benefits of hearing is the profound and fascinating manner in which we can be emotionally affected by listening to music, whether it is being performed live or electronically reproduced.

It should be noted that the function of listening and the efficiency of the hearing system is affected by many external factors. Lack of sleep, use of alcohol and caffeine, and loud sound, among other things, all affect the sensitivity of the ear to varying degrees, as well as the listener’s objectivity and general ability to evaluate sound.

2.2 Characteristics of Sound

The first step in learning how to listen...