Doç . Dr. CAN KARADOĞAN İTÜ TMDK
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Transcript of Doç . Dr. CAN KARADOĞAN İTÜ TMDK
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Creating The Recorded Image of Turkish Art Music: The Decision Making Process in a Recording Session
Doç. Dr. CAN KARADOĞANİTÜ TMDK
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PURPOSE OF THIS STUDY
• Discussion of the studio representation of Turkish Art Music
• Stating the frequently faced problems of Turkish Art Music recording sessions
• Creating the ‘high fidelity’ stereo image of the music that an ensemble is playing
• Recommending ways to ease the decision making process in the session based on observations gained from practice
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3TURKISH ART MUSIC
• A form of chamber music by tradition
• Although the original practice was performed acoustically, the contemporary performance practice requires sound reinforcement
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ACOUSTIC ENSEMBLE MUSIC
• Recorded mostly live using no overdubs
• The dominance of small studios force the productions to transform into a overdub way
• Bigger ensembles which won’t fit into a studio should be recorded in concert halls or similar places
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STEREO MICROPHONE TECHNIQUES
• They make use of the ITD (Interaural Time Delay) or IID (Interaural Intensity Difference) (e.g. the A-B technique or the XY technique)
• They can reflect the placement of an ensemble in a room by giving localization cues.
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6PANORAMA
• The placement of musical elements in the horizontal (left-right) and the depth dimension in mixed music
• It is mostly possible to pan instruments to left of right.
• By changing their volumes and their reverb amounts mostly it is possible to place these instruments to the foreground or the background.
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SYMPHONY ORCHESTRA
• A fixed sitting placement
• In order to capture the depth and the space, even a single A-B stereo pair can be sufficient to create the image
• Near mics are used to support the sections that are not loud enough in the whole mix
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8CLOSE MIKING
• Microphones are placed mostly at a distance about 2-30 cm. from the source
• Aims to capture more of the first sound waves from the source
• Minimizes the reflected sounds that arrive at the microphone capsule
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9STRING QUARTETT
• Fixed placement
• Familiar with acoustic performance
• Overdubbing is never the choice of production
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FREQUENTLY FACED PROBLEMS OF TURKISH ART MUSIC SESSIONS
• Difficulties in acoustic performance without any monitoring
• No clear placement
• Fuzziness in the stereo image
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WHY IS THIS IMPORTANT?
• Due to the 3:1 rule, a tight sitting placement would limit the miking distance
• The stereo mix design would be compromised
• Controlling the musical image
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12JAZZ RECORDINGS
• High awareness and expections for the stereo image
• Only close miking techniques are used so that the panoramic placement is done in the mix
• Recorded using headphones!!!
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CLASSICAL RECORDINGS
• High awareness and expections for the stereo image
• The stereo microphone pair defines the panorama
• The close mics contribute less to the overall sound
• No headphones are used during recording!!!
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14TURKISH ART MUSIC LIVE RECORDING CASE
• The ensemble creates the intonation together in the room
• What happens if one instrument makes a mistake
• Acoustic performance problems
• Headphones: With or without
• When a singer is involved, the session must be done using headphones
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15MIXING
• Stereo placement of the instruments• Is the kanun in the center?• Bowed instruments vs. Plucked instruments• Performing in a wide hemi circle• Percussion instruments on the left of the circle• Restricted usage of the stereo panorama that is present in
the stereo pair
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16AN EXAMPLE
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Refik Hakan Talu Ensemble
INSTRUMENTS FROM LEFT TO RIGHT
• Tanbur• Ud• Ney• Kanun• Kemençe• Cello• Bendir (Percussion)• Daire (Percussion)
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18MIKING DECISIONS
• Having the sound expectation unclear, placing a close mic for each instrument can be helpful.
• Depending on previous experience, matching all instruments with the best as possible sounding mic.
• Recording the sound that is created together in the room with an A-B stereo pair.
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19TANBUR
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20UD
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21BENDİR
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MINIMIZING THE LEAKAGE
• Making use of the polar patterns of microphones as much as possible.
• Isolating neighboring instruments with gobos
• Making use of the Low-cut filters of some microphones
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23GOBOS
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24A-B STEREO PAIR
• Placed in the center of the hemi circle
• Pointing towards the kanun as a center instrument
• Ca. 2.20 m height
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25A-B STEREO PAIR
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26A-B STEREO
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27MIXING STAGE
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28MIX PANORAMA
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29MIXING STEPS
• Close mic channels contributed to the sound more than the stereo pair
• Unlike classical music mixes, the level of the main pair was kept lower than the close mic channels.
• Delay compensation between the close mics to the pair was made
• Close mics were panned according to their position in the stereo image of the A-B pair
• Reverb added
• Eqs were used to minimize the leakage and to give definition to some instruments
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LISTENING EXAMPLE
Buselik Saz Semaisi – Refik Hakan Talu
• Room mics. only (A-B, DPA 4006)
• Only close mics.
• Final mix
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31REMAINING QUESTIONS
• Is there a traditional placement of the instruments of Turkish Art Music?
• Is the kanun always in the middle?• Must the percussion instruments be place at a hard left of
right position?• Would the bowed and plucked instruments be placed
together as a section?• Would an average listener expect to find this stereo image
in a recording?• How much freedom does a sound engineer have in order
to produce Turkish Art Music?
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32THANK YOU