tag:blogger.com,1999:blog-75068287748584621812024-03-06T22:34:55.601-05:005.1 Surround Terakoya Lab / サラウンド寺子屋塾Surround Sound workshop for next generations.<br>
<small>http://51terakoya.blogspot.com</small>Unknownnoreply@blogger.comBlogger46125tag:blogger.com,1999:blog-7506828774858462181.post-87924038279462560702023-08-01T07:46:00.003-04:002023-08-01T07:46:26.976-04:00Sound Design for "Top Gun: Maverick by Dolby Atmos - The 95th BEST SOUND Sound Effects Award in 2022<p style="text-align: center;"><br /></p><p style="text-align: right;"> Mick Sawaguchi </p><p style="text-align: right;"> Fellow M. AES/ips</p><p style="text-align: right;">UNAMAS-Label</p><p style="text-align: right;"> Surround Terakoya School</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOANecSMmiB1LNzbAwZWu0JIjuawBMZxry2cj5ucx7YHFdcyo2dyAVH0mf6yO3naTzux4yvCdVw6vaKgJgpNE4RGW2Efq9BZYf8WWsnbxgL6vnGHSRTIssQ4yc-xkWemGKfap_979udhdFnCpPXi7ethq9DkIVNCGCdhUZzIWi5Rbuh1GsP63FkqnYMKOc/s951/01%20jec%20trunade.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="951" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOANecSMmiB1LNzbAwZWu0JIjuawBMZxry2cj5ucx7YHFdcyo2dyAVH0mf6yO3naTzux4yvCdVw6vaKgJgpNE4RGW2Efq9BZYf8WWsnbxgL6vnGHSRTIssQ4yc-xkWemGKfap_979udhdFnCpPXi7ethq9DkIVNCGCdhUZzIWi5Rbuh1GsP63FkqnYMKOc/w400-h169/01%20jec%20trunade.png" width="400" /></a></div><br /><p></p><p>Introduction</p><p>This sequel to Top Gun, directed by the late Tony Scott in 1986, inherited the sound design of the original to emphasize the dynamic flight of the Jet, while 2022 further enhancing the realism of the cockpit with multi-camera and audio recordings. The sound team has also created a new soundtrack for the Synaptic soundtrack. Author will analyze the hyper realism and Dolby Atmos mix, which the sound team calls Synaptic sound.</p><p>1 Production Staff</p><p>Director: Joseph Kosinski</p><p>Sound Design: James Mather </p><p>Al Nelson </p><p>Bjorn Ole Schroeder </p><p><br /></p><p>Final Mix: Chris Burdon </p><p>Scott R. Lewis </p><p>Lloyd Mattock </p><p>Mark Taylor</p><p>Christopher Boyes</p><p>At Twickenham London</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnlpCnhgyv73IibrGBSQdS-HTjoQVt1mJxNmBoqh5Teid9qZZeff0Hk1SBcGLBb0ctCjrD75441HbA6DCZgPJk_IfBtW55m95jIDgtJaRj7mV1MCKHJ1aMZ7jM6bAPfqGv2l9zTdtDvXd4g4sH_4F98GxO-7l-jt2xya4YzD_kYxvLZ-xM9cj7CfsF9sK8/s1500/02-TFS%20uk.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnlpCnhgyv73IibrGBSQdS-HTjoQVt1mJxNmBoqh5Teid9qZZeff0Hk1SBcGLBb0ctCjrD75441HbA6DCZgPJk_IfBtW55m95jIDgtJaRj7mV1MCKHJ1aMZ7jM6bAPfqGv2l9zTdtDvXd4g4sH_4F98GxO-7l-jt2xya4YzD_kYxvLZ-xM9cj7CfsF9sK8/w400-h266/02-TFS%20uk.png" width="400" /></a></div><p>Music: </p><p>Harold Faltermeyer</p><p>Hans Zimmer.</p><p>Lady Gaga</p><p>Scoring Mixer: Al Clay</p><p>Scoring Mixer: Stephen Lipson</p><p>Rec at VSL Synchron Stage Vienna</p><p><br /></p><p>Foley Artist: Ronni Brown </p><p>Shelley Roden </p><p>Jana Vance </p><p>John Rosch</p><p>Production Sound: Mark Weingarten</p><p>Sound Recordist: Al Nelson</p><p>Ben Burtt</p><p>2 Story and Main Characters</p><p>Despite his brilliant war record, Navy Colonel Pete "Maverick" Mitchell has refused to be promoted and is now a test pilot for the Dark Star, a supersonic test aircraft. His boss, Rear Admiral Chester Kane, who is now focused on developing pilotless fighter planes, visits the base and tries to kill the project. Maverick's solo flight achieved Mach-10, but the Dark Star aircraft was destroyed, and Maverick was banned from flying after he escaped and returned home. He was ordered to the "Top Gun" instructor position at North Island Naval Air Station, returning after more than 30 years.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2ogwYcO4_xzlnJZGX7l7txBQOhEyIuUyJfPJ4XXCwc5LPQ8wFTlr-cbS2D81lTB2TxQpOqAvrYrE8gNyjtyvdO4TVnlsFB1EOk89Bupx1DsLBCG_06Wk0kZCxyPAPJUNgRVdy5EBEWc69xpVYJxn6v6txXwNS-83uXDugpIRuyxWuDsbRBJPfD38e4Gy/s922/03-san%20dieg%20air%20base.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="922" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2ogwYcO4_xzlnJZGX7l7txBQOhEyIuUyJfPJ4XXCwc5LPQ8wFTlr-cbS2D81lTB2TxQpOqAvrYrE8gNyjtyvdO4TVnlsFB1EOk89Bupx1DsLBCG_06Wk0kZCxyPAPJUNgRVdy5EBEWc69xpVYJxn6v6txXwNS-83uXDugpIRuyxWuDsbRBJPfD38e4Gy/w400-h196/03-san%20dieg%20air%20base.tiff" width="400" /></a></div><br /><p></p><p> </p><p>His mission is a demanding one: to train 12 Top Guns in three weeks on an operation to destroy a uranium enrichment plant that is being secretly built in violation of NATO treaties. Among them is Rooster, the son of his best friend Goose, who was once killed in an accident.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDsR1C9vMAzpJqvpf3EH1J6Wus43ddw2TCnHUsop-Z1OlNJPt144XOchetXdSD7OZGjpXZXNZ2jZBU-yt4ROEAIWOpYoTSnl26yo2vvmbTwhBBBhipzg9slqgVLT88PFMfnlaMHN7GUt_MJgd-5Hphw7YLG1ZWom_JSLWi3T6cvUNuk-qSnKlxHyaR9V0J/s953/04-DOG%20FIGHT.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="953" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDsR1C9vMAzpJqvpf3EH1J6Wus43ddw2TCnHUsop-Z1OlNJPt144XOchetXdSD7OZGjpXZXNZ2jZBU-yt4ROEAIWOpYoTSnl26yo2vvmbTwhBBBhipzg9slqgVLT88PFMfnlaMHN7GUt_MJgd-5Hphw7YLG1ZWom_JSLWi3T6cvUNuk-qSnKlxHyaR9V0J/w400-h224/04-DOG%20FIGHT.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKClfjFALutE7eXt8A3zAfc0ofvGkv7LRc2NWoJrgY6VYfbqd0i8tzxG3q5-vpp1HvxY5HcHjHNuk2XfrJZP-nhc7Pa_goSUxEA6lM1mobtN96FoZr9PrxB7bi2UaOvHUC7RtnWuR0BzGfj2qnAutPq2rulc8myQq-uHtlHkA7G8A6_8Cfm5YQzpEYl5Ui/s826/05-camera%20rig.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="826" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKClfjFALutE7eXt8A3zAfc0ofvGkv7LRc2NWoJrgY6VYfbqd0i8tzxG3q5-vpp1HvxY5HcHjHNuk2XfrJZP-nhc7Pa_goSUxEA6lM1mobtN96FoZr9PrxB7bi2UaOvHUC7RtnWuR0BzGfj2qnAutPq2rulc8myQq-uHtlHkA7G8A6_8Cfm5YQzpEYl5Ui/w400-h251/05-camera%20rig.tiff" width="400" /></a></div><br /><p>Maverick selects an old F/A-18E/F as his aircraft for training, but after only three weeks of training, the commander orders him to resign as instructor because he is unable to achieve his goals. However, he flies the F/A-18E without permission and successfully demonstrates the operation, gaining the trust of the pilots and flying as a formation leader. On the day of the special mission, Maverick and his team take off from the aircraft carrier Theodore Roosevelt and successfully destroy the plant, but Maverick and Rooster are shot down by anti-aircraft missiles from a SAM, which they cover up for each other.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQSkusUsh3gri2PdQHyKl0yZ4z_V1WhkkWrHvvSoG9zq7U_s7FCjd0Yy75PGPG1YiHa8Kssj8RDMoNUi7RuxsUe4jJc6fyBX-HPBHYxS1ojS8uPkeRh4hrw9h1HgJ3Kx1wQjzMj4LvCEDqBMbSX-6vIap9CWIIlB0MdjEkH-Y33dYaepwYfy87U7rp42bI/s868/06-filming%20on%20ship.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="868" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQSkusUsh3gri2PdQHyKl0yZ4z_V1WhkkWrHvvSoG9zq7U_s7FCjd0Yy75PGPG1YiHa8Kssj8RDMoNUi7RuxsUe4jJc6fyBX-HPBHYxS1ojS8uPkeRh4hrw9h1HgJ3Kx1wQjzMj4LvCEDqBMbSX-6vIap9CWIIlB0MdjEkH-Y33dYaepwYfy87U7rp42bI/w400-h239/06-filming%20on%20ship.tiff" width="400" /></a></div><p>The two reunite in the forest, steal an F-14 that remains intact at the enemy base, take off, and shoot down an enemy 5th generation fighter that comes to intercept them. Maverick's plane is in a desperate situation when Hangman's plane rushes in and shoots down the enemy fighter, and the two return safely to the carrier.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqupaQNsYdzBN_gRzY1sczl2YFBU6DtLUucY7qzR7UEpnmTUP63t9sFDGAgkBD4CHwmt4u4pqZTfMQZxwJC32HaC61t6Lzcc5cP5L7wafQo1N68fzBSPxBEaaX8Ys4s_2nHCqIHPkOxe9Dba8WOgDPID6GDbho_NMOfSnAhFy9eYJzU8eIRa3zsYVHq9pp/s951/07-LANDING%20F-14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="532" data-original-width="951" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqupaQNsYdzBN_gRzY1sczl2YFBU6DtLUucY7qzR7UEpnmTUP63t9sFDGAgkBD4CHwmt4u4pqZTfMQZxwJC32HaC61t6Lzcc5cP5L7wafQo1N68fzBSPxBEaaX8Ys4s_2nHCqIHPkOxe9Dba8WOgDPID6GDbho_NMOfSnAhFy9eYJzU8eIRa3zsYVHq9pp/w400-h224/07-LANDING%20F-14.png" width="400" /></a></div><p><br /></p><p>3 Distinctive sound design for each beginning and ending</p><p><br /></p><p>3-1 introduction 00h00'00"-00H32'40"</p><p><br /></p><p>⚫️ Opening shipboard scene</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzuGk_IUxTCKJX0E7lHgm0oyTZ88q7lJq1WTD3ZPIEafpAa7eoEdkxE-d2KF5YC4lyjJxR48J0_ri7cL1FGHxjjWmlMlfghXlyxQtDr1yIwNqEBML3Jc-R_NsaEX2_9cAfhmxuwUzWCTxVFA_Df8Z7av4FwMnX6MigX49qPfEEuP8InV3oXSnwct-Qpxe/s865/08-%E7%99%BA%E8%89%A6.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="865" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzuGk_IUxTCKJX0E7lHgm0oyTZ88q7lJq1WTD3ZPIEafpAa7eoEdkxE-d2KF5YC4lyjJxR48J0_ri7cL1FGHxjjWmlMlfghXlyxQtDr1yIwNqEBML3Jc-R_NsaEX2_9cAfhmxuwUzWCTxVFA_Df8Z7av4FwMnX6MigX49qPfEEuP8InV3oXSnwct-Qpxe/w400-h228/08-%E7%99%BA%E8%89%A6.tiff" width="400" /></a></div><br /> <p></p><p>The opening scene consists of the 5.1CH main theme, sound effects related to the departure and passage sound JET for the height, and announcements on board the ship.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp3E8s1YMv1O19AOlP6B61MImQWy6WWSrD06xiiTGfFQ5s_iS3jhzU0GKClaw2CWbWyuNwXiMk6IOl1x26PbYer8XdkK2eJDxf24_dGWwGgEw3Ywm3OTJZJ59D9xre8D7fcWt4SRM7kOY3U9k45Ygj5GScRpFALegfaWVIpkDG8qU_jEcILBhcuGAsJ5Bv/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp3E8s1YMv1O19AOlP6B61MImQWy6WWSrD06xiiTGfFQ5s_iS3jhzU0GKClaw2CWbWyuNwXiMk6IOl1x26PbYer8XdkK2eJDxf24_dGWwGgEw3Ywm3OTJZJ59D9xre8D7fcWt4SRM7kOY3U9k45Ygj5GScRpFALegfaWVIpkDG8qU_jEcILBhcuGAsJ5Bv/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" width="400" /></a></div><p>⚫️ Test Plane Dark Star's Challenge</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhboKvIlu690nEM7RjfDv0wHw3Gaf_8b76kop1alfylTEl1J917KG5IvyZb4_UiWjFtz-Rz4JluTgsyf3jv9pUFXIsSrAMXWq1GgAUkORoa9E-viSEqKg-GuiDS-lfPETiBqF4swboNkR-LGwiqoDrnz4ZNwGPSQl4K6DeC75_qXa3j0glxjKXo7ZMoEdzc/s860/09-%E3%82%BF%E3%82%99%E3%83%BC%E3%82%AF%E3%82%B9%E3%82%BF%E3%83%BC.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="509" data-original-width="860" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhboKvIlu690nEM7RjfDv0wHw3Gaf_8b76kop1alfylTEl1J917KG5IvyZb4_UiWjFtz-Rz4JluTgsyf3jv9pUFXIsSrAMXWq1GgAUkORoa9E-viSEqKg-GuiDS-lfPETiBqF4swboNkR-LGwiqoDrnz4ZNwGPSQl4K6DeC75_qXa3j0glxjKXo7ZMoEdzc/w400-h236/09-%E3%82%BF%E3%82%99%E3%83%BC%E3%82%AF%E3%82%B9%E3%82%BF%E3%83%BC.tiff" width="400" /></a></div><br /><p></p><p>This is the scene where the test plane Dark Star entered the hypersonic region, aiming for Mach 10, although it reached Mach 9. The height channel localizes the in-flight sound of the test plane.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcE1cw3-noUacoCfcjKKQDPqy_VmUMRq86fOk6iFtuQ1-rvMY4S6SpQpIslgnlacY6UP1cACPyClTV7kBKR2WxhdkYBVpyBWuRPrR0gzjf9yIDGDWQKh4gTnbWNlTtFZHey1naViSdDddNzOLgoEIyAh2mJ_ychjd31MyjG1052QvH7QkKZnQiHjpST7E/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcE1cw3-noUacoCfcjKKQDPqy_VmUMRq86fOk6iFtuQ1-rvMY4S6SpQpIslgnlacY6UP1cACPyClTV7kBKR2WxhdkYBVpyBWuRPrR0gzjf9yIDGDWQKh4gTnbWNlTtFZHey1naViSdDddNzOLgoEIyAh2mJ_ychjd31MyjG1052QvH7QkKZnQiHjpST7E/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" width="400" /></a></div><br /><p><br /></p><p>3-2 transition 00H32'40"-1H00'28"</p><p><br /></p><p>⚫️ 12 trainees and Maverick's Dogfight</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgIB4wks_So11pt1ib6kDaym6mcb5vV0iCpRbGXHrQ6IBXE7lQ1z8CaTjf0zyCUmxcLTKm896O9B9aEuaj7pwp75eiihvOVtebDy8_S1QgVYiCYBh3a9JjA6cwND8Vv_9zSSPsQlMTCaxrCOg5lTtBub0o-3HOm2_NBrDQ9Tso8gmUMm7VcxhC2Q6T9oWF/s926/10-%E8%A8%93%E7%B7%B4%E3%83%BC%EF%BC%90%EF%BC%91.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="926" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgIB4wks_So11pt1ib6kDaym6mcb5vV0iCpRbGXHrQ6IBXE7lQ1z8CaTjf0zyCUmxcLTKm896O9B9aEuaj7pwp75eiihvOVtebDy8_S1QgVYiCYBh3a9JjA6cwND8Vv_9zSSPsQlMTCaxrCOg5lTtBub0o-3HOm2_NBrDQ9Tso8gmUMm7VcxhC2Q6T9oWF/w400-h166/10-%E8%A8%93%E7%B7%B4%E3%83%BC%EF%BC%90%EF%BC%91.tiff" width="400" /></a></div><br /><p></p><p>The in-flight sound has high frequency components localized in the front and low frequency components in the rear side, with the hard center emphasized by the pilot's breath. The height channel has a jet stream rotating 360 degrees like a merry-go-round.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPkgRA0qa7zd80Sn2KxfbCR5otr_rleLClehRlhmSI6VpZzf1BDpsAKDPnTtIYhJh99qkxrdXfo1jdzUj3MQ3Tb0tsg9BLj0Jn5yQUf81wJImXw5vpGIRAjm3IELlOfwqLkZE6-QvclR5cxDusUFAk6RaIsJyagO7pq9prmoRlwnOO5rtiAvtrzSf-c1_B/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPkgRA0qa7zd80Sn2KxfbCR5otr_rleLClehRlhmSI6VpZzf1BDpsAKDPnTtIYhJh99qkxrdXfo1jdzUj3MQ3Tb0tsg9BLj0Jn5yQUf81wJImXw5vpGIRAjm3IELlOfwqLkZE6-QvclR5cxDusUFAk6RaIsJyagO7pq9prmoRlwnOO5rtiAvtrzSf-c1_B/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" width="400" /></a></div><br /><p><br /></p><p>⚫️ Practical Training Checker Flag Cutting</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzsgZs-iL_rZEJHjDbduGHw-ERBFZEdx1ciy1z__o7sMPCQTEW0tliF8XKI1ZesJEN0U6R93VL-qgeQp_JcKpax1w6y_l2OkWy7krUU1XbpYbWl0GMAiFAvsg0KgF5Iz8hTqFMDrX3r7hkfrVaUQOXjbNOprarkJRRuGCbiXPHq-Ki8y2S87NF8TCIewRR/s840/11-%E8%A8%93%E7%B7%B4%E3%83%BC%EF%BC%90%EF%BC%93.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="840" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzsgZs-iL_rZEJHjDbduGHw-ERBFZEdx1ciy1z__o7sMPCQTEW0tliF8XKI1ZesJEN0U6R93VL-qgeQp_JcKpax1w6y_l2OkWy7krUU1XbpYbWl0GMAiFAvsg0KgF5Iz8hTqFMDrX3r7hkfrVaUQOXjbNOprarkJRRuGCbiXPHq-Ki8y2S87NF8TCIewRR/w400-h188/11-%E8%A8%93%E7%B7%B4%E3%83%BC%EF%BC%90%EF%BC%93.tiff" width="400" /></a></div><br /><p>The trainees then begin intense training on a terrain that simulates a nuclear facility. This is a checkered flag cut of 8 cuts totaling 5'25'', alternating short cuts between the training of one trainee at a time and the on-base class room where the cause of failure is explained. Each cut is preceded by an intense bumper sound to impress the viewer, and the design succeeds in creating a strong impression of the tempo of the video. The use of height channels is also very aggressive, especially the 360-degree rotation of the low end of the music, reminiscent of the 2013 Gravity design.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7SLl9nuvPI-dwSEO-ekn9XNKmIlIsXaYksUlE9To_6jbW8IxnrV7pPZzGI1GcrYYEj4TaECRckkFgF2-RHAR46y4Mzn4IXjRgERR9vk5RDM69YIBgkbCKZFWiI2aszMxuZE0cMSFK3FIL0vRwQDf0vum_3Ti48pKjXAkgwEnsGNPq5TvohCC8nYJsGxUq/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7SLl9nuvPI-dwSEO-ekn9XNKmIlIsXaYksUlE9To_6jbW8IxnrV7pPZzGI1GcrYYEj4TaECRckkFgF2-RHAR46y4Mzn4IXjRgERR9vk5RDM69YIBgkbCKZFWiI2aszMxuZE0cMSFK3FIL0vRwQDf0vum_3Ti48pKjXAkgwEnsGNPq5TvohCC8nYJsGxUq/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" width="400" /></a></div><br /><p><br /></p><p>3-3 main body 1H00'28'-1H24'57"</p><p><br /></p><p>⚫️ Tough Practical Training and Maverick Demo Flights</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQj6W8lJDpm0JQi_zhZtsQBUgHZ-R3b3IojvyOpPGl0Ob3zJ0bn5QYCEpfxowyBXjGa51rz2tGOBr_tS3oAsobfOZCbTJ29VIYI2GsYdXGsOPb4QcE7f-x86NdW3iwVoWoEQyUafbb9hTkjDMb0Caz3zLXBcGdjqUbgtHBGxLDvVHc3nIFC3TFG_POAzwZ/s841/12-a%20%E3%83%9E%E3%83%BC%E3%83%98%E3%82%99%E3%83%AA%E3%83%83%E3%82%AF%E3%83%86%E3%82%99%E3%83%A2.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="841" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQj6W8lJDpm0JQi_zhZtsQBUgHZ-R3b3IojvyOpPGl0Ob3zJ0bn5QYCEpfxowyBXjGa51rz2tGOBr_tS3oAsobfOZCbTJ29VIYI2GsYdXGsOPb4QcE7f-x86NdW3iwVoWoEQyUafbb9hTkjDMb0Caz3zLXBcGdjqUbgtHBGxLDvVHc3nIFC3TFG_POAzwZ/w400-h239/12-a%20%E3%83%9E%E3%83%BC%E3%83%98%E3%82%99%E3%83%AA%E3%83%83%E3%82%AF%E3%83%86%E3%82%99%E3%83%A2.tiff" width="400" /></a></div><br /><p></p><p>The attack is a week earlier and even tougher training continues, the F-18 design is the basic design below, similar to the 2019 award-winning Ford vs Ferrari interior scene, the F-18s are designed to be used as a demonstration aircraft for the Ford F-18s, and the F-18s are designed to be used as a demonstration aircraft for the Ford F-18s.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcibwl6Hm5n9musBfV3O8d_jkMEo7iqG2p_dQQMbHTm9mejz9INnF8ectwbXNa7D53LFX3jxGioCtnDhhW66QKHYUSLaRfz8VbUAzxazludcuV4OqeQor69M8Kx8b8gjwwZykAJCaTLaqrOtDA-XPQfTIRnIgcHc9CCRJojSqV4JKjzD6sHae5osCfPAb3/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%995.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcibwl6Hm5n9musBfV3O8d_jkMEo7iqG2p_dQQMbHTm9mejz9INnF8ectwbXNa7D53LFX3jxGioCtnDhhW66QKHYUSLaRfz8VbUAzxazludcuV4OqeQor69M8Kx8b8gjwwZykAJCaTLaqrOtDA-XPQfTIRnIgcHc9CCRJojSqV4JKjzD6sHae5osCfPAb3/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%995.png" width="400" /></a></div><br /> <p></p><p>3-4 conclusion 1h24'57'-02h10'14"</p><p>Again, the thrilling Jet aircraft attack and chase with SAM missiles is accompanied by music, but the design of the Jet is essentially the same.</p><p><br /></p><p>3-5 Use of Height Channels</p><p><span style="color: red;">In this film, there are 36 scenes in which the Height Channel is used in the 2 hours and 10 minutes, which is by far the largest number of uses of the channel among the award-winning films from 2016, probably due to the fact that the theme handled in this film is aerial combat. In terms of purpose of use.</span></p><p><br /></p><p>⚫️ The ambience design that enhances the realism is only three locations: hangar, Jet engine idling, and Iceman's funeral gun</p><p><br /></p><p>⚫️ The main focus is Jet fighter related with scoring music and sound effects converging</p><p><br /></p><p>3-6 Soft level of sound scenes with contrasting dynamics</p><p><br /></p><p>Scenes after full bit dynamics are usually set at almost non-mon equivalent level settings to refresh the ears but also in this film,</p><p><br /></p><p>⚫️ Maverick visiting a café in town for a drink of water after the fall of the test plane Dark Star</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjojvT7N3UAOS-WAij60DIhkDEMTLTZ2DWer7YFKCyzyNzeSLCZlAK_0D2_LKJ5uAVGMubHwfNfKLmWkOXQMC-IKQOwp7WYzS7l43kU5GwcQmSCUUT7JmGpE_slLPaTN5hKeaV8UNC19qhRkSqID-sijXJsRPIJkQaSF38A0jhf6E37_s4YdtTt-3gxjzNf/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjojvT7N3UAOS-WAij60DIhkDEMTLTZ2DWer7YFKCyzyNzeSLCZlAK_0D2_LKJ5uAVGMubHwfNfKLmWkOXQMC-IKQOwp7WYzS7l43kU5GwcQmSCUUT7JmGpE_slLPaTN5hKeaV8UNC19qhRkSqID-sijXJsRPIJkQaSF38A0jhf6E37_s4YdtTt-3gxjzNf/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" width="400" /></a></div><br /><p></p><p>⚫️ Rooster and Maverick in the class room after the training plane crash</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRbtrE2snCaWIkgYaki5N37xU3TZjG1ww2sRjJaKBwzdSrsnBk52t9tP8g4iXHoxG17AHPRfe08v0E9en48urDjG8p6h9MABPpeO2iMZogeYvLC9cgXlJboWpfAclvxAuR6ziyVH7P62Td6_4gYD76PzP6JdL-3mihpNA84VyeCz9QX5vhpU-B_KsIp5x/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRbtrE2snCaWIkgYaki5N37xU3TZjG1ww2sRjJaKBwzdSrsnBk52t9tP8g4iXHoxG17AHPRfe08v0E9en48urDjG8p6h9MABPpeO2iMZogeYvLC9cgXlJboWpfAclvxAuR6ziyVH7P62Td6_4gYD76PzP6JdL-3mihpNA84VyeCz9QX5vhpU-B_KsIp5x/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" width="400" /></a></div><br /><p></p><p>⚫️ Commander's office after a successful attack simulation practiced by Maverick</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADbKk3V1CJwSH6tqcm70IM4qG8SHTtq8quTJyJMdK42mFfS5lbOcypBz5TWy_vdoyOaVYRBsX5KjQIPC5Cwbgi7vKGttHWu6aUbsWwBgBabKzjNQbUtQ6ZYy1ATYupe_Du-uvphumAP6B8wy24cyDE7vJ8oIZBxD609J30b5WmJPQ8vyM8e5lRIA4BzSP/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADbKk3V1CJwSH6tqcm70IM4qG8SHTtq8quTJyJMdK42mFfS5lbOcypBz5TWy_vdoyOaVYRBsX5KjQIPC5Cwbgi7vKGttHWu6aUbsWwBgBabKzjNQbUtQ6ZYy1ATYupe_Du-uvphumAP6B8wy24cyDE7vJ8oIZBxD609J30b5WmJPQ8vyM8e5lRIA4BzSP/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" width="400" /></a></div><br /><p></p><p>⚫️ The two in the snowfield where the Rooster crashed</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj79fmMkaRHWVx6eMzMRHVKNq5NJ-7QzdZsEDA-wI-Yq06QZruYb_4PEzPRKz7bHJ0b8qrxOkxx6xiKB6WDkC25JvKMjPmjQUwT7uSZVHAonYOgt1qTSoOEvffu1A0jE6rAfvgTfm9YrnK1QExWTZ-qD_ek8qPzRInOTlG_0kLxPzJRkB5_s3fCHJ6UbKvp/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj79fmMkaRHWVx6eMzMRHVKNq5NJ-7QzdZsEDA-wI-Yq06QZruYb_4PEzPRKz7bHJ0b8qrxOkxx6xiKB6WDkC25JvKMjPmjQUwT7uSZVHAonYOgt1qTSoOEvffu1A0jE6rAfvgTfm9YrnK1QExWTZ-qD_ek8qPzRInOTlG_0kLxPzJRkB5_s3fCHJ6UbKvp/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" width="400" /></a></div><br /><p>4 Scoring Music</p><p>The main composer is Berlin-based Harold Faltermeyer, who also composed the music for the previous Top Gun album in 1986, with the addition of Hans Zimmer, and the closing song "Hold My Hand" features Lady Gaga on vocals. The overall music producer is London-based Lorne Balfe, who has worked with Hans Zimmer for many years.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfm7-_DZ8ehoUM6SzRE3A0ry3-I4OmtOrRUDXmMr4s4rD9dzMwpZvDA1Enx_og-Z0Z66ESDsPCamOvr0O8JbTRBUIz3mvwaKW_7h2vn3--HHClDsDuEIV8a38fT0asaYPq28iBQRbOfJ2EznrqFEeVu-o25NzCdVxIf-tTZ14P9WDSNjXDrEdOtkFiwoR/s448/12-Harold_Faltermeyer.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="318" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfm7-_DZ8ehoUM6SzRE3A0ry3-I4OmtOrRUDXmMr4s4rD9dzMwpZvDA1Enx_og-Z0Z66ESDsPCamOvr0O8JbTRBUIz3mvwaKW_7h2vn3--HHClDsDuEIV8a38fT0asaYPq28iBQRbOfJ2EznrqFEeVu-o25NzCdVxIf-tTZ14P9WDSNjXDrEdOtkFiwoR/s320/12-Harold_Faltermeyer.tiff" width="227" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0zNwIRdh9DmJKEIxkxFyL4HrTz34Y9T212nTbeSV7Qy-mJ8m9wrBNVlBfDlxI5pSRrqjTHx80LDXVoU_W5BxbYXnvRmtJhphlUWQQxEi78atDpz5c0MrtsZw5TJ6l1JmnalHvHLERsgSKaOPvxWZMtlMigJ4eB7Z8KMPhPcnGdrLyx6EkTRq6PX8Bg8u/s594/13-loren%20balfe.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="594" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0zNwIRdh9DmJKEIxkxFyL4HrTz34Y9T212nTbeSV7Qy-mJ8m9wrBNVlBfDlxI5pSRrqjTHx80LDXVoU_W5BxbYXnvRmtJhphlUWQQxEi78atDpz5c0MrtsZw5TJ6l1JmnalHvHLERsgSKaOPvxWZMtlMigJ4eB7Z8KMPhPcnGdrLyx6EkTRq6PX8Bg8u/s320/13-loren%20balfe.tiff" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="color: red;">The total duration of the music is 1h34min40sec until the end of the closing credits, which accounts for 72% of the total music used in the film, which is a very large percentage.</span></p><p><span style="color: red;">The music reflects the recent trend of mixing orchestral music with computer-generated music, and the main feature of this so-called hybrid music is the active use of height channels.</span></p><p>Here are some design examples.</p><p>1 Height channel localization of strings</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvCPbO8o28J9AEp_EVhuITq7le_sjLmrvery3JSyUzXY1A3SES04afJR1W_vQ0BE11BKYOjsL_XOVyYwgMNtRwp1xGVGe5C1aP4lSYlzTlz7pw_BmBkfrq3SSNbaxaSUfJt6bSQwzTtzhdFdMRZvUyhdLhfvXudeKOJtPqranBKnAZiDyZTAOdNuOjJUtC/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvCPbO8o28J9AEp_EVhuITq7le_sjLmrvery3JSyUzXY1A3SES04afJR1W_vQ0BE11BKYOjsL_XOVyYwgMNtRwp1xGVGe5C1aP4lSYlzTlz7pw_BmBkfrq3SSNbaxaSUfJt6bSQwzTtzhdFdMRZvUyhdLhfvXudeKOJtPqranBKnAZiDyZTAOdNuOjJUtC/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%994.png" width="400" /></a></div><p>Even in strings, height channels are used, in contrast to the 5.1CH emphasis in Hollywood-style strings. I imagine that the mixing was probably done with the Atmos mix in mind.</p><p> The photo is a shot from the mix room on the 2nd floor, and I think the very high place is for height.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNRzKa14_lvDjrYh_4UrAWYWC5bvnLxOoEHjpq1xPAWkpit3UHVvmHAqTZcaRihYB1whj97sC9wEGhXdxU1TgSlUqyTE6Ao2s8ZxKIYzQHTTVT7wFCTf5MWl3y-rAvoCRnjFpoCLEzbkN2SjEzPV52PBg37YLORrwzKtNSsjlDnRUmSiZnuvqSG4R3IXU/s883/14-scoring%20height%20miking.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="509" data-original-width="883" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNRzKa14_lvDjrYh_4UrAWYWC5bvnLxOoEHjpq1xPAWkpit3UHVvmHAqTZcaRihYB1whj97sC9wEGhXdxU1TgSlUqyTE6Ao2s8ZxKIYzQHTTVT7wFCTf5MWl3y-rAvoCRnjFpoCLEzbkN2SjEzPV52PBg37YLORrwzKtNSsjlDnRUmSiZnuvqSG4R3IXU/w400-h230/14-scoring%20height%20miking.tiff" width="400" /></a></div><br /> <p></p><p>2 Independent localization of Gt riffs to left and right of height</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7d-lTQ2tvM6KEYrmB68urg1X7C5u1jcJLZtw0ueckYtyewiN3g3a7HZ7Y7FtboCXdcGkW7K7QzIDi8o4j4SntfFHXz2rtbaolMq7y6nEnCByiffa5M_vpT1m9UIuKoomMEK9XirkdCy6abZl7febGSaeRhF97s3PgQPjxRlY7tBPFZqzx1AK5AuYSNUt/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7d-lTQ2tvM6KEYrmB68urg1X7C5u1jcJLZtw0ueckYtyewiN3g3a7HZ7Y7FtboCXdcGkW7K7QzIDi8o4j4SntfFHXz2rtbaolMq7y6nEnCByiffa5M_vpT1m9UIuKoomMEK9XirkdCy6abZl7febGSaeRhF97s3PgQPjxRlY7tBPFZqzx1AK5AuYSNUt/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%991.png" width="400" /></a></div><p>This is a very unique and impressive use of placement: the 5.1CH has a surround placement of the band, with the Gt riffs on the heights playing differently on the left and right sides, respectively.</p><p><br /></p><p>3 Riffs are moved with feedback delay.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBQz4am117Qz0POz2BFTbClQ4YiEkRL6jXCzYoOD32atQbxT3vqYa-8SsNbLr7TRR7vFE8YhLLwaD669eYwAdHt--zEmyjPOrb9Nj1TRxTzOeP-dgupSLXpvlJzv0b1B8k5q1HPvRVTrqeleZ3BRGEsJt9IjF7sSeqWb_7G8UChIaog3wTXHasbO0v_rj2/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBQz4am117Qz0POz2BFTbClQ4YiEkRL6jXCzYoOD32atQbxT3vqYa-8SsNbLr7TRR7vFE8YhLLwaD669eYwAdHt--zEmyjPOrb9Nj1TRxTzOeP-dgupSLXpvlJzv0b1B8k5q1HPvRVTrqeleZ3BRGEsJt9IjF7sSeqWb_7G8UChIaog3wTXHasbO0v_rj2/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" width="400" /></a></div><br /><p><br /></p><p>Feedback delay is applied to the riffs used in the height channel to create a moving expression.</p><p><br /></p><p>4 Complex localization of strings, rhythm system and PERC.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPW5qLFVCv0WWLUAXsC2ilWg1g-ac4YMqIh6EcmdagJQYgoLT-jfCTFzntSnJoarNQLY6Cg-vM2LrPcbLUTts6JNqavqf5xsxdTq8Iiip-Fj3g_93mLfBEYUE6xzKMVk0l0RYtCZHVoVhihWIxmvspld1p7sptZO-rZXgd9U1afd9ZgC_nvqUskKOTCY69/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPW5qLFVCv0WWLUAXsC2ilWg1g-ac4YMqIh6EcmdagJQYgoLT-jfCTFzntSnJoarNQLY6Cg-vM2LrPcbLUTts6JNqavqf5xsxdTq8Iiip-Fj3g_93mLfBEYUE6xzKMVk0l0RYtCZHVoVhihWIxmvspld1p7sptZO-rZXgd9U1afd9ZgC_nvqUskKOTCY69/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%993.png" width="400" /></a></div><p>This is an example of very intricate localization in the height channel, and an example of aggressive localization in the height channel as is usually done in the bass channel.</p><p> </p><p>5 360-degree rotation of low-frequency instruments as Boom components, seasickness.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEistIwVUzqqVZU2J3Vdcx37Sk3nKmcgexkKX2cnJVfRs53-wICgXYQSxPWiMMscMh6XChspwTCB2Y4wH8PzaQs0bI11xhHzgAxHZ7TgA6wLbPh57CZ76XJccK5K_-wutt1KFHpN5qJQzq2ETcdfBYaORkZih3LVFMMFLogUBGxdR6CxnL3IzYh24WsNbOF1/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%995.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEistIwVUzqqVZU2J3Vdcx37Sk3nKmcgexkKX2cnJVfRs53-wICgXYQSxPWiMMscMh6XChspwTCB2Y4wH8PzaQs0bI11xhHzgAxHZ7TgA6wLbPh57CZ76XJccK5K_-wutt1KFHpN5qJQzq2ETcdfBYaORkZih3LVFMMFLogUBGxdR6CxnL3IzYh24WsNbOF1/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%995.png" width="400" /></a></div><p></p><p>The recording was made at Synchron Stage Vienna in Vienna, Austria.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSUKfcNzKnTwrTDJmgT36ak-H3sx1U9jgXeMDTO1eVA1eF0JrCriKkEuYvSHc-S1pS31yii3eDHy3Np522ZlArt7oQs3JjfAvcbA7KawEvbg1S_LsB-ngIqOAp-MtzNOqH3-JTDnScDl5KsihI-9oL1WET_R2I5VtoGzFikxUp3E-v0excoW2Inwl7uf9/s930/15-synchron%20viena.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="930" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSUKfcNzKnTwrTDJmgT36ak-H3sx1U9jgXeMDTO1eVA1eF0JrCriKkEuYvSHc-S1pS31yii3eDHy3Np522ZlArt7oQs3JjfAvcbA7KawEvbg1S_LsB-ngIqOAp-MtzNOqH3-JTDnScDl5KsihI-9oL1WET_R2I5VtoGzFikxUp3E-v0excoW2Inwl7uf9/w400-h225/15-synchron%20viena.tiff" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqP20FXd5mkRcLxQkbfj3PaxhnzFvzp7MLgVAkUUjHVpTfOqg6pmSl7sIQmjYRg13WnknZzQmP34KJ7dM5Yp0BgSx4Z1vLHPhPdunKSeOscwh0M_n96d0GmtVyiAbipqqiPKfPrZ4D8KWYPA883TYldv-CWi1DGqdxZIiXnD_A-RktG7fDawY7z0SBwXI3/s957/16-scoring%20sesion-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="957" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqP20FXd5mkRcLxQkbfj3PaxhnzFvzp7MLgVAkUUjHVpTfOqg6pmSl7sIQmjYRg13WnknZzQmP34KJ7dM5Yp0BgSx4Z1vLHPhPdunKSeOscwh0M_n96d0GmtVyiAbipqqiPKfPrZ4D8KWYPA883TYldv-CWi1DGqdxZIiXnD_A-RktG7fDawY7z0SBwXI3/w400-h225/16-scoring%20sesion-02.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizL7W_42gqLOr_1JyE0YaxkPIZVcHZMomrPsZCodm-m_ECK4BIDBhMO5ABbCT9y_gVe-rexJt0UOYUhezRWrnmtj9rzMHpBQXNFb9SO5wCYqUB9AWul52DtMaRcWCtxtJy1JSgtOsGEiiLY7NgHAEAPMN-68inXU67Un9QukYv7mr5S9YQOcxzeoE7DNvo/s1420/18-synchron%20stage%20Floorplan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="871" data-original-width="1420" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizL7W_42gqLOr_1JyE0YaxkPIZVcHZMomrPsZCodm-m_ECK4BIDBhMO5ABbCT9y_gVe-rexJt0UOYUhezRWrnmtj9rzMHpBQXNFb9SO5wCYqUB9AWul52DtMaRcWCtxtJy1JSgtOsGEiiLY7NgHAEAPMN-68inXU67Un9QukYv7mr5S9YQOcxzeoE7DNvo/w400-h245/18-synchron%20stage%20Floorplan.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7PtujsoQjkwgM74yi2pUO9VqovnoVsvgkhchdc_wp7jW2BqrGzePHt_F_T1lGRcPvfYGmNwMdi8Vj62nq1eHNrI257eO1kcgtJV4o07rvgNrfu_ctZhglZwwFwdpTfkuvjWnh4Q2lWpzVdbJR3GVeqoJPG7-UV5FeLWXUEgT-iZ6z5Nz96NIv1BlrW3cn/s976/17-synchron%20stage%20mix%20room.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="976" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7PtujsoQjkwgM74yi2pUO9VqovnoVsvgkhchdc_wp7jW2BqrGzePHt_F_T1lGRcPvfYGmNwMdi8Vj62nq1eHNrI257eO1kcgtJV4o07rvgNrfu_ctZhglZwwFwdpTfkuvjWnh4Q2lWpzVdbJR3GVeqoJPG7-UV5FeLWXUEgT-iZ6z5Nz96NIv1BlrW3cn/w400-h225/17-synchron%20stage%20mix%20room.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fnTWyF_aBrcXq3u0AmNbVrkaWztTxXK3CDGc3rcT1lCkWL2JAoJhJqfryLZYqGgaW2cBuCQLQaE8tqtzokJYsuvC05jiSdCQ8t6JgL2YT_mZitI9_JnV3flgyQ7IZDjNumNzammc4kl4MmqI3Wq0umhO9uCxjeW14ZsdRfFFQfrsW17Sb3S808g_OsSH/s1410/17-b%20synchron%20stage%20UpperLeve.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="871" data-original-width="1410" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fnTWyF_aBrcXq3u0AmNbVrkaWztTxXK3CDGc3rcT1lCkWL2JAoJhJqfryLZYqGgaW2cBuCQLQaE8tqtzokJYsuvC05jiSdCQ8t6JgL2YT_mZitI9_JnV3flgyQ7IZDjNumNzammc4kl4MmqI3Wq0umhO9uCxjeW14ZsdRfFFQfrsW17Sb3S808g_OsSH/w400-h248/17-b%20synchron%20stage%20UpperLeve.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The Vienna Symphonic Library, a company that produces and releases sampled sound sources, purchased a hall built in the 1940s adjacent to a movie studio in 2013 and turned it into a music studio with state-of-the-art acoustics and facilities. With the ability to record full orchestras of up to 120 players, the facility has become one of Europe's premier film music production centers, comparable to Abbey Road and Air Lyndhurst in the UK.</p><p> </p><p>5 Material Recording-Final Mix</p><p>The concept of sound is,</p><p>⚫️ Hyper-realistic</p><p>⚫️ The emphasis is on impact. The sound concept was based on the approach of Chris Lebanz and Cecelia Hall, who were in charge of the sound for the previous work.</p><p>The flight sound of the Jet was not as dramatic as it would have sounded with just the material recording, so animal voices and other sounds were mixed in to create a sound with life and vitality.</p><p>⚫️ Emphasizing Breath in the Cockpit</p><p>Mark Wein, Production Mixer, said that in order to realistically record cockpit dialogue, especially breaths under pressure, a custom pilot's uniform tailored by the Navy was fitted with a contact microphone. The controller that allows the user to start and stop all of the in-flight equipment at once along with the video was used to record the sounds of the equipment.</p><p>The key material for Jet was recorded during a week aboard a Navy aircraft carrier.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY_uVe9S9glvT_eCv4ATF-a2pY3bM7YthlNG-pFAcT37XHFIyyZFUfwUbWH1w10MX9JTQ3KR9X8JfxouHwX7eJGzijAekeorYQxpBUbGNqiGF-FeArv-0xNyb2o55BBr0mJGlZodam7vwvmZlyvkfSO1G6LHFteOHx0TSSri6XMs5a859b9v37JWW74rg4/s950/19-SHIP.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="535" data-original-width="950" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY_uVe9S9glvT_eCv4ATF-a2pY3bM7YthlNG-pFAcT37XHFIyyZFUfwUbWH1w10MX9JTQ3KR9X8JfxouHwX7eJGzijAekeorYQxpBUbGNqiGF-FeArv-0xNyb2o55BBr0mJGlZodam7vwvmZlyvkfSO1G6LHFteOHx0TSSri6XMs5a859b9v37JWW74rg4/w400-h225/19-SHIP.png" width="400" /></a></div><br /><p>The final mix was done at Twickenham Studios, a long-established studio in London, England, using Dolby Atmos for STAGE-01 and IMAX Mix for STAGE-02. IMAX Mix is performed at Twickenham Studios, a long-established studio in London, England.</p><p>IMAX theater sound used to be a 6.1ch system, but recently, reflecting Immersive sound, it has become a total 12.1ch system with 2 side channels and 4 ceiling channels added.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_i0xwEaH_J1g6R5Lpy6s_V30MioBvsiyTEUZV4aC82GIdymfGrd_IAz0Vs6ynDsWdMUFaB15yuWbq4BVzvJOtFhk6Xm1q8CQydeYaZXwhjbhhbeb9mdEIdHak1Z9y_vzqEgkNK0Yc051ZfmOicSS1Zh5D3l5r-JCC9qHSGpWuqrhkDfDM11g7YKfm9lC-/s1200/20-Twickenham%20outside.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1200" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_i0xwEaH_J1g6R5Lpy6s_V30MioBvsiyTEUZV4aC82GIdymfGrd_IAz0Vs6ynDsWdMUFaB15yuWbq4BVzvJOtFhk6Xm1q8CQydeYaZXwhjbhhbeb9mdEIdHak1Z9y_vzqEgkNK0Yc051ZfmOicSS1Zh5D3l5r-JCC9qHSGpWuqrhkDfDM11g7YKfm9lC-/w400-h250/20-Twickenham%20outside.tiff" width="400" /></a></div><p><br /></p><p>In Conclusion</p><p>Although the Academy Award was only for the sound effects, I think that the visual design, with its excellent sense of visuals and the latest technology, should also be noted.</p><p>Claudio Miranda also worked as DP on the previous film in 1986. </p><p>I think that the sky tones are wonderfully rendered with magic hour touches, making use of shadows and deep shadows in many places.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXHzyal8DJDn9hrpb_Rj22EFJhR0EkrM5f01HzrIXCa7zL9LYxC6O9kVAA2uLUBQkFss_-N_sjO-9HqzbijR2tRKt563dxNmvIV68HDz02XVYmuPACKAv7ckU4_ioVC0gEDLZKQcoURXFKJAsU35D77lopgBmAi0E-W-iDPJtFMbYIxrJ911xBjyhe_Gno/s928/24-shadow-02.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="928" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXHzyal8DJDn9hrpb_Rj22EFJhR0EkrM5f01HzrIXCa7zL9LYxC6O9kVAA2uLUBQkFss_-N_sjO-9HqzbijR2tRKt563dxNmvIV68HDz02XVYmuPACKAv7ckU4_ioVC0gEDLZKQcoURXFKJAsU35D77lopgBmAi0E-W-iDPJtFMbYIxrJ911xBjyhe_Gno/w400-h171/24-shadow-02.tiff" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaMvXsLmEm-qqzD7waTyd61BTTiG0ownsMJ9ED26sjrabqX8kMxUSuDxm9unQqtjH3DveYTyYbrzVdENSVRG2gHiuYbmQmic_9IYm3g8cdrgBqKtQnqiHOM8Hm8wau9NKvMrsimSUwePkEDX1Z_KAWtrMvKdDnHA3kLExye_0ISfWsqQm6onbWfOIy0-su/s927/23-shadow-01.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="390" data-original-width="927" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaMvXsLmEm-qqzD7waTyd61BTTiG0ownsMJ9ED26sjrabqX8kMxUSuDxm9unQqtjH3DveYTyYbrzVdENSVRG2gHiuYbmQmic_9IYm3g8cdrgBqKtQnqiHOM8Hm8wau9NKvMrsimSUwePkEDX1Z_KAWtrMvKdDnHA3kLExye_0ISfWsqQm6onbWfOIy0-su/w400-h169/23-shadow-01.tiff" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6tJHeTZ8vRdQiZiEMPFPlNQPgIipDXyiqqGAj4wuOOXAVb7vIzfmc0o1B0l7La6WlJ_ZCFHjzKkb-T-eSRF068xxwwPiAtQzj2cim8HgBStBx-eS52t6167joE9xAaxh9RnKaQVkazUzVco2gaEY8nfqmILFYZGhQQ2Yy0OBtRVlDryLdKdu6_9o-LBNl/s962/22-DP-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="962" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6tJHeTZ8vRdQiZiEMPFPlNQPgIipDXyiqqGAj4wuOOXAVb7vIzfmc0o1B0l7La6WlJ_ZCFHjzKkb-T-eSRF068xxwwPiAtQzj2cim8HgBStBx-eS52t6167joE9xAaxh9RnKaQVkazUzVco2gaEY8nfqmILFYZGhQQ2Yy0OBtRVlDryLdKdu6_9o-LBNl/w400-h241/22-DP-02.png" width="400" /></a></div><br /><p></p><p>The F-18 Jet was filming from three locations: inside the aircraft, outside the aircraft, and on the ground.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJhc1sfWePu8x565I7CqO4rqADcTWaBUN1VUl8UI2gseLN5IrEPM7cEyv7LdPxBkkOi62zCUtYwrd1UPCahyBFIAgVNcSWXHs7lq8KRs_DFsZfWg4TeUnmdfdQWQ1u0p8k6CfMXE8EoLYMGOD-SJ_CABDFcBh-Acs_Y36hlkn7LOcJ-CB71IiH44_4oIma/s948/25-filming%20on%20the%20ground.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="948" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJhc1sfWePu8x565I7CqO4rqADcTWaBUN1VUl8UI2gseLN5IrEPM7cEyv7LdPxBkkOi62zCUtYwrd1UPCahyBFIAgVNcSWXHs7lq8KRs_DFsZfWg4TeUnmdfdQWQ1u0p8k6CfMXE8EoLYMGOD-SJ_CABDFcBh-Acs_Y36hlkn7LOcJ-CB71IiH44_4oIma/w400-h244/25-filming%20on%20the%20ground.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBYgAEbdpTJNbVGAy657jweWSCkGbzymJiW-xTfp0A53oW44O9SfKHG2dtOCRPUlodkuCPhjvnDomNiUBUQf9sc1pJVRUwYEefcjV_c1obpHkle7os08O2uH1BNOaI11R8raVFo693FLgSuGgFK5wKNTvUboK6-6DfKlapLxD5ELCWVhoPNSusUbRLa2_/s828/26-FILMING%20ON%20THE%20GROUND%20TO%20JET-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="828" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBYgAEbdpTJNbVGAy657jweWSCkGbzymJiW-xTfp0A53oW44O9SfKHG2dtOCRPUlodkuCPhjvnDomNiUBUQf9sc1pJVRUwYEefcjV_c1obpHkle7os08O2uH1BNOaI11R8raVFo693FLgSuGgFK5wKNTvUboK6-6DfKlapLxD5ELCWVhoPNSusUbRLa2_/w400-h194/26-FILMING%20ON%20THE%20GROUND%20TO%20JET-02.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh9kqNoaxnopiVBO5UKshEfA8qxNvPYmg8jebCg0iRgHq-oy1CNUqx_yMLf5pKbeVqkyO8spk89i4T6a8GuyUmvqnqKns8DDml4u5a7Km3ksLzNN3rp6qNj3GUOyrRSEhwguBzvarkh9pxvFs9sOvGFlROZGV7Hshrcmk-86Pg-S6ClV2ngkDz0jOgEOKF/s966/27-COCKPIT%20CAMERA-03.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="966" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh9kqNoaxnopiVBO5UKshEfA8qxNvPYmg8jebCg0iRgHq-oy1CNUqx_yMLf5pKbeVqkyO8spk89i4T6a8GuyUmvqnqKns8DDml4u5a7Km3ksLzNN3rp6qNj3GUOyrRSEhwguBzvarkh9pxvFs9sOvGFlROZGV7Hshrcmk-86Pg-S6ClV2ngkDz0jOgEOKF/w400-h240/27-COCKPIT%20CAMERA-03.png" width="400" /></a></div><br /> <p></p><p>Especially for the shooting inside the cockpit of the F-18, they separated the SONY cameras and installed six heads only specially, creating a system that allows the viewer to choose which shot is best in the edit. This was made possible by Tom Cruise's passion and the cooperation of the U.S. Navy, which made it possible.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9UBGNGJQVgCz2kbygWQLGPNo7Cphq8TV9TLtB5BXFLHsTsGNWEELtwdrSVaCCZFCs9zcIq4mKOVfPIZFluj6AtQKXZx7FPAgJKij9E_1LOti_B66HGm5uq71uxum2UQAOnUG8yh9pSYX4I9vsTfA_BBuF0pKkd1px60lD31aqSmmPwU2chSe57uV2Azsn/s870/29-SKY%20CAM%20-03.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="870" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9UBGNGJQVgCz2kbygWQLGPNo7Cphq8TV9TLtB5BXFLHsTsGNWEELtwdrSVaCCZFCs9zcIq4mKOVfPIZFluj6AtQKXZx7FPAgJKij9E_1LOti_B66HGm5uq71uxum2UQAOnUG8yh9pSYX4I9vsTfA_BBuF0pKkd1px60lD31aqSmmPwU2chSe57uV2Azsn/w400-h213/29-SKY%20CAM%20-03.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVjR9q3sD7Mp6oLecutKyfJewqM327EQ-Bge8t3CMpLZnY4sFLbTgaFIdhRaShrMDt10R5wzkh6L_kSGJqRAiSP4dBuqZvg2QGZZwIvb2hrpv6EEY3aP3iGFVHM1NgiT_T18K3oZyBWYSB8L4_pqXYpZbr2_HjbFwqPg1nm-eTgmlkdbqgpbHXXOe8OwtV/s989/28-jec%20filming%20camera.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="989" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVjR9q3sD7Mp6oLecutKyfJewqM327EQ-Bge8t3CMpLZnY4sFLbTgaFIdhRaShrMDt10R5wzkh6L_kSGJqRAiSP4dBuqZvg2QGZZwIvb2hrpv6EEY3aP3iGFVHM1NgiT_T18K3oZyBWYSB8L4_pqXYpZbr2_HjbFwqPg1nm-eTgmlkdbqgpbHXXOe8OwtV/w400-h159/28-jec%20filming%20camera.png" width="400" /></a></div><br /><p></p><p> For out-of-flight filming, a dedicated filming jet called the Cine Jet was utilized to capture the mobility and power of the film. I think the environment where such state-of-the-art equipment is available as an infrastructure is truly a proof of being a major motion picture country.</p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7xalBJzxDXl-iCKcrlVNetcd0zZgPvl-xBxObBHdpxZjlly7XlMKjapHUdI9r-qarC36xe_rcG05AtDG6oNt3bUnm8BZIDIG7CsTG4pcEZfAaYcmzUlEABEcKk_zV2lPGU8S16ttjRN6tGIoL68p_Qt_mUlDSlAdNQuteFjbS6MlmeQfhMnwdZH7swXJb/s969/30-sky%20cam%20.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="578" data-original-width="969" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7xalBJzxDXl-iCKcrlVNetcd0zZgPvl-xBxObBHdpxZjlly7XlMKjapHUdI9r-qarC36xe_rcG05AtDG6oNt3bUnm8BZIDIG7CsTG4pcEZfAaYcmzUlEABEcKk_zV2lPGU8S16ttjRN6tGIoL68p_Qt_mUlDSlAdNQuteFjbS6MlmeQfhMnwdZH7swXJb/w400-h239/30-sky%20cam%20.png" width="400" /></a> </p><p> </p><p>The works that leave a lasting impression on me as beautiful images are V. Storaro's shading in "Assassination Forest," directed by B. Bertolucci in 1970, for which he was in charge of DP, and N. Almendros' work in "Days of Heaven," directed by T. Malick in 1978, for which he was in charge of DP. The beauty of the images, shot only during the evening magic hour, which lasts only 20 minutes each day, is wonderfully toned.</p><p><br /></p><p><br /></p><p> </p><p><br /></p>Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-78148830137997933742023-08-01T07:45:00.002-04:002023-08-01T07:45:40.942-04:00FIELD SURROUND RECORDING PRACTICE<p style="text-align: right;">Mick Sawaguchi </p><p style="text-align: right;">C.E.O UNAMAS Label Fellow Member of AES </p><p><br /></p><p>Introduction</p><p>When sound elements necessary for a work are collected and extracted based on the design plan, and when there are insufficient sound effect materials in archived library materials, Foley recordings, or studio recordings, they are recorded both indoors and outdoors outside of the dedicated studio. Staff members who record material for these purposes are called "sound recordists. </p><p>When recording the sound material on Filming, it is called a "Production-sound Mixer" to distinguish it.</p><p>In terms of recording the desired sound in high quality both indoors and outdoors, the basic equipment and usage are the same, but the feature is that only a small crew is used to record regardless of the synchronization with the video.</p><p>This paper introduces tips and pitfalls for field recording with 4 or more surround sound channels instead of 2-channel stereo recording, based on the experience gained through the production of the 24 albums in the Nature Whisper series that I have produced.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBN4fmjKn3pticZ0Va1Vapq32Eg-6b5ndl5-0oLh_1S8r9_vnK-loUXNN0Yql2xBqdKTXaPReZ9V88M0YmQC5cl9KguoX2U09-lw8_1MpZhDnxPQvu2O12-MF9bOCL24Jo1BnkHCsNy50U_S2zpqhcrf4pOU7EgnhoKXhTKQHlidqHVzhZU-Ef-hpR_p8/s4592/MICK%20UP.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3064" data-original-width="4592" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBN4fmjKn3pticZ0Va1Vapq32Eg-6b5ndl5-0oLh_1S8r9_vnK-loUXNN0Yql2xBqdKTXaPReZ9V88M0YmQC5cl9KguoX2U09-lw8_1MpZhDnxPQvu2O12-MF9bOCL24Jo1BnkHCsNy50U_S2zpqhcrf4pOU7EgnhoKXhTKQHlidqHVzhZU-Ef-hpR_p8/w400-h268/MICK%20UP.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wR0PydMWTDLAR7V0pruyHePGb0ijDE8LErwdpbdW9dCyBE7J21uXvSGhv2Kk9jZnpslrBjkaOFiyPeg-cuPsdG4Rgr3n5PdcoaQ6eNqX2hmIYRX-AK8Hwd2luXqbQh78MN4Msog4liUWo0DZpL2wWc0f2tOHAdhdN2Pyf5CQk-ySstgIYeCdfBB_K3-P/s1400/unahq%204019%20shining%20mist%20atmos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wR0PydMWTDLAR7V0pruyHePGb0ijDE8LErwdpbdW9dCyBE7J21uXvSGhv2Kk9jZnpslrBjkaOFiyPeg-cuPsdG4Rgr3n5PdcoaQ6eNqX2hmIYRX-AK8Hwd2luXqbQh78MN4Msog4liUWo0DZpL2wWc0f2tOHAdhdN2Pyf5CQk-ySstgIYeCdfBB_K3-P/s320/unahq%204019%20shining%20mist%20atmos.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWXn_vbAk3oN_BIQ8K3VGnGmIk1zzmgRrJ69RPfa1GmHBhOq_hjsKQ1nzlOSnhMNtYxnOWHCr4wI5p0ulrXGbxNeYHAVYAIX9IIgDEvDM0LduFY1Q8B2wGUw05Zd47ij3xtQ1u9QV9qVulh5O4aSllGlCUx1BHPdV4MADwu06kHd4WPfEj5ge3tp0aqaKi/s1400/unahq%204022%20atmos%20jk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWXn_vbAk3oN_BIQ8K3VGnGmIk1zzmgRrJ69RPfa1GmHBhOq_hjsKQ1nzlOSnhMNtYxnOWHCr4wI5p0ulrXGbxNeYHAVYAIX9IIgDEvDM0LduFY1Q8B2wGUw05Zd47ij3xtQ1u9QV9qVulh5O4aSllGlCUx1BHPdV4MADwu06kHd4WPfEj5ge3tp0aqaKi/s320/unahq%204022%20atmos%20jk.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqHnB3VOXj5G-AzytBQn3zs3J_oLMkOCX5CgxTGuFCH8N_WklhbeKwUxXLKpB7CWhJOf6pqlEQLwBzCFXtE90mjMqfYRaJKFwn-OBdhK01pxwpfTA0m1Im-JbBX0DJ05yoTJB15wpXgwdfFWvm54AYApOVQNnqJsQqv6WyD8pdwbBY9mY9cFxQBRx4dvU3/s1400/unahq%204023%20atmos%20jk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqHnB3VOXj5G-AzytBQn3zs3J_oLMkOCX5CgxTGuFCH8N_WklhbeKwUxXLKpB7CWhJOf6pqlEQLwBzCFXtE90mjMqfYRaJKFwn-OBdhK01pxwpfTA0m1Im-JbBX0DJ05yoTJB15wpXgwdfFWvm54AYApOVQNnqJsQqv6WyD8pdwbBY9mY9cFxQBRx4dvU3/s320/unahq%204023%20atmos%20jk.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p>1 Advantages of Field Recording</p><p>The advantage of using library materials is that no new production costs and schedules are required, but the advantages of recording new materials according to the work are as follows</p><p><br /></p><p>⚫️ Original materials can be prepared in high quality according to the work.</p><p>⚫️ Various sound expressions can be obtained, ranging from close-ups of the same object to the entire sound.</p><p>⚫️ Outdoor recording of special vehicles such as cars, tanks, airplanes, submarines, etc. is possible.</p><p>⚫️ Realistic natural sounds such as alpine mountains, deep sea, plains, heavy snow, avalanches, waterfalls, storms, etc. that are not synthesized in the studio, enhancing the realism of the film.</p><p>⚫️ Realistic explosions and firearms, which are essential for action films.</p><p>(Even if the final audio format is Fs48KHz-24bit, there is a growing trend to record the material in high quality data such as 96KHz-24 or 192-24bit for future-proofing).</p><p><br /></p><p>2 Field Recording Practices</p><p>2-1 Location Selection</p><p>Once the desired material is determined, a location must be selected for it. The location to be selected depends on the physical sound source, such as cars, tanks, airplanes, and so on. For physical sound sources, it is possible to record as long as the owner of the sound source is identified and a request is submitted. For natural sound recordings, it is not always possible to record the sound source as we wish, so it is advisable to make time to record them frequently. For characteristic natural sounds, we will research and select recording locations in advance.</p><p>Weapons and explosions are not freely available for recording in Japan. For such sound sources, we will go overseas or commission a recording company to do the recording. Overseas, we have the advantage of being able to record in vast deserts, plains, shooting ranges, etc., without being affected by the surrounding environment.</p><p>2-2 Seasons and time of day</p><p>The best seasons and times of day for natural sounds depend on the desired sound source. While the rustle of a forest or the flow of a river can be recorded regularly regardless of the time of day, specific sounds such as wild birds, insects, and cicadas must be selected for optimal recording during the season and time of day. Even the same sound source can change its appearance early in the morning, during the day, or at night, so it must be recorded according to the purpose of the recording.</p><p>2-3 Ambience Noise Conditions</p><p>In the modern age, there is always some kind of noise everywhere, making field recording difficult. There is no way to prevent airplanes from flying overhead, so it is important to investigate and select locations in advance, such as under flight routes and near airfields.</p><p>2-4 Permit Application</p><p>Depending on the location and the subject of the recording, please investigate whether or not you need to apply for a permit in advance and complete the application procedures. It is important to avoid cancellation on the day of recording.</p><p>2-5 Stereo or multi-channel recording?</p><p>Compared to 2-CH recording, multitrack recorders have become more popular, including 4-CH to 8-CH recorders, which allow recording of different sounds at the same time and using independent multi-channel recording to prevent distortion by setting different levels, as well as surround sound recording to take advantage of the three-dimensional sound field. It can be used for a wide range of applications from independent multichannel recording, such as recording different sounds at the same time and setting different levels to prevent distortion, to surround recording that takes advantage of three-dimensional sound fields.</p><p>3 Field Recording Equipment</p><p>3-1 Microphone / Windshield / Stand / Special Attachment</p><p>The microphone to be used should be selected as follows, depending on the type of the intended sound source.</p><p>⚫️ Focus on localization: cardioid microphone</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3K_-0DPPINqR-afrzWuUylcS8pXLXYqZU2XOOZ8fNT-vXxeTgaDknIs38-5I6auvyG_OGPp2sZurEzWFQNtcUDHLDeWYd5YkabohU4XZ0CQfxFo8EC_cjHnoUvUjSYK-PltRAVwAP_4t_2mx0wRlarzF2IghK-x6Bw3lGl8WzLmcSmC0X5bUoc5FcC2w/s4592/SANKEN%20CUW-180.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3064" data-original-width="4592" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3K_-0DPPINqR-afrzWuUylcS8pXLXYqZU2XOOZ8fNT-vXxeTgaDknIs38-5I6auvyG_OGPp2sZurEzWFQNtcUDHLDeWYd5YkabohU4XZ0CQfxFo8EC_cjHnoUvUjSYK-PltRAVwAP_4t_2mx0wRlarzF2IghK-x6Bw3lGl8WzLmcSmC0X5bUoc5FcC2w/w400-h268/SANKEN%20CUW-180.jpg" width="400" /></a></div><br /><p></p><p>⚫️ Focus on broad ambience: omni-directional microphone</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuWL24hYZXM3kY2Tx9L2PDZEy7dKzR-fFxq5rj_xy3Hm9Cx8KT42AybVPdEq_PP5Rct151oPTEM6abil-50aGpSnxKKejR6PPfoAKtIuf8u4NdRGHyOPzhI4CL5iX-EUnLx8d416mVIXTrfzzYNJuyf1mxCQ22th2wmYM2PkS2DUA_dC5aGQrRSjufpSn/s720/dpa-4006.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuWL24hYZXM3kY2Tx9L2PDZEy7dKzR-fFxq5rj_xy3Hm9Cx8KT42AybVPdEq_PP5Rct151oPTEM6abil-50aGpSnxKKejR6PPfoAKtIuf8u4NdRGHyOPzhI4CL5iX-EUnLx8d416mVIXTrfzzYNJuyf1mxCQ22th2wmYM2PkS2DUA_dC5aGQrRSjufpSn/w400-h300/dpa-4006.png" width="400" /></a></div><br /><p></p><p><br /></p><p>⚫️ Emphasis is on capturing specific sound sources: Super-directional microphones</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi57xKCBpEsHX5Zs4zDX1S1hOQiAg1Gz99KZt6F0rsfssAMeUlgyDsPeKEX_3qChUdz9wevkRCSmrVW0W-eZorzaNeYcA9RpgXGC8oD7rTC5Ny_-7KKKlS-bBzoXACIMBvzrmYd9idida1nw_H-ckdeM45mjT8Gino9kXLs1p5dee1MIRheaFfz2iUddOzD/s720/vp89%20shotgunmic.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi57xKCBpEsHX5Zs4zDX1S1hOQiAg1Gz99KZt6F0rsfssAMeUlgyDsPeKEX_3qChUdz9wevkRCSmrVW0W-eZorzaNeYcA9RpgXGC8oD7rTC5Ny_-7KKKlS-bBzoXACIMBvzrmYd9idida1nw_H-ckdeM45mjT8Gino9kXLs1p5dee1MIRheaFfz2iUddOzD/w400-h300/vp89%20shotgunmic.png" width="400" /></a></div><br /><p></p><p><br /></p><p>⚫️ Emphasis on capturing the vibrations and details of cars and mechanisms: miniature microphones and special microphones (contact microphones that can pick up vibrations directly, underwater sound microphones, dummy heads, etc.)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8mag3LE4uOCpfOOVueeqnkvTi_gcPF1LEQVqD8KFyvXhyfWo3LTVRLTWytV4RD_hs5bzK8bT8JHkDmOuBH40Huxx-tnttLpliA0H0iqvaY75Ixcpuj51I_ilIaanhvGMRK51DKIIAggS__-q-gE1jB0aKhwZKAAtXzpLtHo_NLaL0ClPa3uJI0WQM9RAV/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%996.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8mag3LE4uOCpfOOVueeqnkvTi_gcPF1LEQVqD8KFyvXhyfWo3LTVRLTWytV4RD_hs5bzK8bT8JHkDmOuBH40Huxx-tnttLpliA0H0iqvaY75Ixcpuj51I_ilIaanhvGMRK51DKIIAggS__-q-gE1jB0aKhwZKAAtXzpLtHo_NLaL0ClPa3uJI0WQM9RAV/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%996.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2pteIVXikQ_GbNFvOqbNsv1sAg_MrjDO8xrB6YmClUe9rmRptoZ8bhCCj5h9b6i1BPFjy8Jh8pqdqkk81CEuQ7Ks2AO8rXFomTV2rZxvS9nP604_fOeMrkNSGMY_20wPH-oL1DlKwnYYMuTBKNVC8AZRM9wTE1CES56Bs_U7yCiHIOMhgSPSCApSh9AUq/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%997.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2pteIVXikQ_GbNFvOqbNsv1sAg_MrjDO8xrB6YmClUe9rmRptoZ8bhCCj5h9b6i1BPFjy8Jh8pqdqkk81CEuQ7Ks2AO8rXFomTV2rZxvS9nP604_fOeMrkNSGMY_20wPH-oL1DlKwnYYMuTBKNVC8AZRM9wTE1CES56Bs_U7yCiHIOMhgSPSCApSh9AUq/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%997.png" width="400" /></a></div><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="666" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3WNSfz2QjqIUn0ETYr0xvkuyQGed3ceUVIThCH2eST-RdNzdc9uGrcDoMRT5IrQ6fbz56KK6QpZ0_GTtgl2HwjTQZpu3PIe1tG84d3nKU43SHt-JJppt-dj428X91NFH4kd8CLF0DoiK0cZMTfn8chaH6IAu18qo_GsqhzKkw9qZiYtvv_ZPCwv7MJn9w/w400-h288/lom%20with%20spike.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p><p>3-1-a One Point Microphone Vs Multi Microphone</p><p>For easy setup and a reliable sound field, one-point microphones for stereo and surround field recording in one body are convenient and mobile.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZenVHxPbNl4NMB6uc4q5ZWGRbB7DRuPNE3S-5F4L6o40zXcQJ1tXXB9m_5iIkY60V0rHFS0PR07gEnfTXhq9F7X4UVlFIeOmZH4OPHvR-TYlfLiE-f4pzvoykyMbPTUhwGCdmFGmTuL8DVer3nfRZCI256EotVfcohxrYl3I3ykIiP2BzQzF09SS2CK-/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%999.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZenVHxPbNl4NMB6uc4q5ZWGRbB7DRuPNE3S-5F4L6o40zXcQJ1tXXB9m_5iIkY60V0rHFS0PR07gEnfTXhq9F7X4UVlFIeOmZH4OPHvR-TYlfLiE-f4pzvoykyMbPTUhwGCdmFGmTuL8DVer3nfRZCI256EotVfcohxrYl3I3ykIiP2BzQzF09SS2CK-/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%999.png" width="400" /></a></div><br /><p>However, if you want to capture the sound field with a certain intent, you can also install multiple microphones individually. This method is useful when the sound sources are scattered in many different places, such as in a vast wilderness, or when the sound sources are generated in many different places, and you want to record them all at once. For example, a sports car, a steam locomotive, a power turbine, an airplane, etc. can all be recorded independently of each other. </p><p><br /></p><p>it is possible to record gunshots in the field with a multi-track recorder by installing multiple microphones to simultaneously record the gun body, muzzle, flight and impact noises, etc. In the case of recording vast natural sounds such as prairies, deserts, and tropical rain forests, microphones can be placed at intervals of several tens of meters to capture the spatial size of the area.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VPqezshO2irv9IWDRST5MHA-66rTnIMTHkyM4Ci-4POjRxw-46imsoXeYhEuNG0hCZkqYTSHRp8s3EEbxQ0r1HsWKz-Eu1ivGpIPT59qbFag3utzDvW1CFuyjX-47iYr-lCGv42ziO8y3Er9ISEwnFWBxwF_YRO0eefkbILg9K04TWkhKbtIrlXXLq6h/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9910.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VPqezshO2irv9IWDRST5MHA-66rTnIMTHkyM4Ci-4POjRxw-46imsoXeYhEuNG0hCZkqYTSHRp8s3EEbxQ0r1HsWKz-Eu1ivGpIPT59qbFag3utzDvW1CFuyjX-47iYr-lCGv42ziO8y3Er9ISEwnFWBxwF_YRO0eefkbILg9K04TWkhKbtIrlXXLq6h/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9910.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9GAUL9GLlK15UMmj_1Gy_CBBJQCGWvIOO9pKCQaXrBgmxZnhNqnGH2FbUaRW1Oy-wLC3RCuIkdYLH1DWbiqBTiuwsQPrUixO76KHt1n23cVwjD0tS5Pe-RQV0uBh5nayTYh8Z-cptH90gJ1DjONvMUz-oFBfMtkjXaum_SjZGq0anpeZOqWB5KkEhsaa8/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9911.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9GAUL9GLlK15UMmj_1Gy_CBBJQCGWvIOO9pKCQaXrBgmxZnhNqnGH2FbUaRW1Oy-wLC3RCuIkdYLH1DWbiqBTiuwsQPrUixO76KHt1n23cVwjD0tS5Pe-RQV0uBh5nayTYh8Z-cptH90gJ1DjONvMUz-oFBfMtkjXaum_SjZGq0anpeZOqWB5KkEhsaa8/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9911.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROjER77AICIhPvb4U2GDoStcZ-bF1zBSccLoxk8lx7Or8D4Q5q03keWMXXDMVPB3_NHT_Vs2Zd-c7FLe1sDwxYWtSvQysYxnlZ-p-7AiFvV29gKcHNY6XkHJdr3NVEbBEgUsslyodM_svW68d2g-ZuSVLTjdtrffaJ6DoFb1q-cYDprtlj3xnfAYfsy7i/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9912.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROjER77AICIhPvb4U2GDoStcZ-bF1zBSccLoxk8lx7Or8D4Q5q03keWMXXDMVPB3_NHT_Vs2Zd-c7FLe1sDwxYWtSvQysYxnlZ-p-7AiFvV29gKcHNY6XkHJdr3NVEbBEgUsslyodM_svW68d2g-ZuSVLTjdtrffaJ6DoFb1q-cYDprtlj3xnfAYfsy7i/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9912.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8wS1nAdzcksE5iQAQwqSm3eHRFnClnnig96sDfuYhhs6LehSyRGPscKFtYTIhj8vq0sHzbVA2LzbKv1AVFdi1JjDuIyd25GnjxyDAih241f9nacRPme-y18WAh3xNGrTt2WCv1WB_I-EmTu3za8QegTfgMZTgX7rrTTxAyC8N10WZFQcClsWEdcaPakZX/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9913.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8wS1nAdzcksE5iQAQwqSm3eHRFnClnnig96sDfuYhhs6LehSyRGPscKFtYTIhj8vq0sHzbVA2LzbKv1AVFdi1JjDuIyd25GnjxyDAih241f9nacRPme-y18WAh3xNGrTt2WCv1WB_I-EmTu3za8QegTfgMZTgX7rrTTxAyC8N10WZFQcClsWEdcaPakZX/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9913.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Condenser microphones are increasingly used in the field. In stable weather conditions, this may not be a problem, but in hot and humid conditions, it is important to select a microphone that can operate without producing noise. In the author's experience, condenser microphones that were stored in the trunk of an airplane on an overseas recording trip were subjected to condensation on the capsule due to the sudden change from the low temperature in the cargo hold of the plane to the high temperature and humidity of the tropical country where the plane arrived, and when it came time to record, the condenser microphones produced a crackling noise! I had an experience like this. I brought a spare microphone with me, so I was able to avoid this problem...</p><p><br /></p><p>Windshields and stands are based on the items described in the boom sound recording of Film production. The difference is that it is a basic 2-channel stereo system. Since this is not a boom operation, once the sound source is determined, a fixed stand is set up for long hours of recording, so the size and balance of the microphone to be used should be considered, and priority should be given to its weight and sturdiness so that it will not collapse in the wind.</p><p>For recording of mechanical components, the interior of a car, exhaust noise, or explosions, it will be difficult to mount a microphone on a standard microphone stand. They use a custom or special mount rig.</p><p>3-2 Cables</p><p>Unlike in the studio, weather conditions in the field are variable, so the first priority is to have strong cables and materials that will not harden even at low temperatures. Dust, dirt, mud, rain, and other contaminants must be prevented, as well as noise caused by penetration into the connectors. Rain protection and covers are also important.</p><p>3-3 Recorder/Headphone</p><p>Recorders are now available in a wide variety of models, from 2-CH portable types to 8-CH multi-track types, depending on the purpose. Portable stereo recorders with only a built-in microphone are convenient for easy recording of ambience material, but for full-scale wind protection or when you want to use an external microphone for certain purposes, we still recommend using a dedicated model. In particular, the built-in microphone type is prone to picking up rustling or other touchy noises when hand-held and recording for long periods of time, so please handle it carefully while monitoring.</p><p>The key point is what kind of recording media should be used? Battery life, abundance of input/output terminals, visibility of level meter, microphone S/N of preamplifier and support for high gain</p><p>Whether functions such as peak display, recording capacity and remaining battery indication are easy to use.</p><p>The recorder's coverage is for heavy-duty use. In field recording, you never know what might happen, so heavy-duty is important for peace of mind and reliability.</p><p>Headphones should be sealed headphones that can be monitored at a sufficient volume even in noisy environment.</p><p>3-4 Power Supply and Recording Media/Backup</p><p>Battery life is a key factor in field location shooting, so make sure you have enough batteries, including spares. Some models have a separate spare battery case, which is convenient for quick replacement. Alternatively, a spare power supply can be connected from an external input and switched. Recording media have become smaller and larger, from SD-SDHC-SDXC cards, which is a good trend for long-time recording.</p><p>Once you have finished recording, save the recording to backup media after you return to your destination or studio and make sure you have enough space for the next day's recording.</p><p>4 For a trouble-free recording</p><p>4-1 Check the equipment in advance to make sure it is ready.</p><p>Unlike in a studio, once you are on location, it is impossible to respond quickly to any problems. To avoid risk, careful advance preparation is essential. If you bring your equipment out on the day of the location only to find that it does not work when you are ready to record on location, you may find yourself in the situation of "Oh, no..." or "It doesn't work! The following checks, including those for spare parts, should be performed in advance to avoid such problems as "Hey, it doesn't work!</p><p><br /></p><p>⚫️ Check all connections from the entrance to the recording outputs to be used at the location. For monitor headphones, check for noise coming from the microphone, cables, and connectors. If there are parts such as PAD, LPF/HPF, and phase switch SW limiter settings on the microphone input, check if they are in the necessary positions.</p><p>⚫️ Check the recording format: Are the Fs and Bit settings in the desired format? Are the date and time settings, correct? Are the settings for recording time code, correct? For multi-channel recording, check the recording track settings, monitor output settings, and monitor balance settings, as some models allow the monitor balance to be changed.</p><p>⚫️ Set the pre-roll time. Pre-roll is a function that allows you to record before the actual recording starts without missing the recording timing. If the type of recorder allows you to set a reference marker for the recording level at which you can record, set it as well, and record at as high a level as possible.</p><p>⚫️ Check and set the limiter operation. Check to see how well the limiter built into the portable recorder operates at any input level and whether its sound quality is acceptable, and if so, bypass it.</p><p><br /></p><p>b Confirmation of recording media operation and formatting Mirroring settings</p><p>Most recording media use solid-state memory such as SSD SD cards. Some recording media are not guaranteed to be compatible by the recorder manufacturer, even if they have the same memory media and capacity, so be sure to select compatible media and manufacturer by referring to the recommended specifications. In the field, freeze or playback failure must be avoided.</p><p>If the media is new, it must be formatted, but there is a difference in the maximum recording capacity within a single file depending on the format. For normal Fs 48KHz-16bit, there is no particular problem, but for recording large data such as Fs 96KHz-192KHz 24bit, the maximum recording time differs depending on the format and number of recording channels.</p><p><br /></p><p><span style="color: red;">Comment-In FAT32 and NTFS formats</span></p><p><span style="color: red;">FAT32: FAT32 is a file system adopted from Windows 95 OSR2, a later version of Windows 95, and supports up to 2TB (1TB = 1,024GB).
However, the maximum size of a single file is 4 GB.
If the recording material exceeds 4 GB, it will be recorded as a separate file.</span></p><p><span style="color: red;">NTFS: NTFS is a file system adopted from Windows NT. Compared to FAT32, NTFS can be created up to the maximum capacity of the drive used, allowing the same sound source to be recorded in one file for a long time.</span></p><p>Mirroring for risk avoidance</p><p>Some models allow two types of recording media to be installed, so mirroring can be set up for production/backup recording.</p><p><br /></p><p>c. Prepare spare equipment such as batteries, cables, recording media, etc.</p><p>It is also important to check your spare equipment. Fully charged batteries, spare batteries or ext.-batteries.</p><p>Check spare equipment such as spare cables and pre-formatted recording media.<span style="color: red;"> If you are recording in the dark, you will need insect repellent, disinfectant, and a head-mounted light. </span></p><p>d. When recording, provide recording information such as location, date, time, and content in your voice as slate.</p><p>At the recording site, record the recording information in your voice on the recording source itself as well as in your notes. The content should include the location, date and time, what the sound source is, and what the situation is like. This is a good habit to get into when organizing your recordings, as it is easier and quicker to edit than searching through your recording notes.</p><p>e. <span style="color: red;">Record at least 30 minutes of natural sound recordings</span>, as each recording is a once-in-a-lifetime event.</p><p>Nature is a stable condition and unexpected so, the sound changes every day, even in the same location. A feeling of "I'll come back next time" is nothing but a regret later on. It is a good idea to record any sound sources you come across and think "this is it" at that time. <span style="color: red;">The recordist luck is a key with patience!</span></p><p>You can decide later how to use it, so be patient and record it for a long time. Especially with natural sounds, you should record at least 30 minutes, because the ambient noise will be included in addition to the target sound, and during the editing stage, you can create a usable sound.</p><p>f Reference Level Setting and W Recording</p><p>⚫️ If the model allows a reference level marker to be set on the level meter display, set the marker as a reference for the recording level. For example, -12 -10 -8 -6dbFs level point. This will make it easier to set the optimum level for each sound source material, and will also enable recording with a good signal-to-noise ratio. This is especially important for low-level ambience recordings to ensure a good signal-to-noise ratio. It is not possible to obtain good quality material by simply "normalizing it later on your DAW. The level meter also displays the area below -20dbFS, so at first glance it appears to oscillate at a large level, but the guideline for maintaining quality is in the range from there to 0dbFS. Some models have a function to cut off the low-level display area and magnify only the level area above -20dbFS, which is very practical.</p><p><br /></p><p>⚫️ W recording settings for unpredictable explosion sounds</p><p>When recording once-in-a-lifetime events such as huge explosions, fireworks, or water spray from tanks and Thunder, it is difficult to set the proper level on the spot unless you are very experienced, resulting in a low-level recording that is not distorted and tends to be unimpressive. In such cases, a multi-track recorder can record at different level settings and edit out the best parts of each recording to ensure the power of the recording. As an example, let's say you have recorded an explosion of gasoline in a drum. The recorder has 8 tracks, and three types of 2-CH microphones are set up to record the peak component, the main explosion component, and the reverberating component, and the best parts of each are combined.</p><p><br /></p><p>⚫️ Once recording begins, keep the recording level constant.</p><p>Once you have set the recording level for later editing, keep it constant during recording unless you are afraid that it will not connect well during the editing stage. This is to avoid the possibility of losing the connection during the editing stage.</p><p>g Background Noise Prevention for Indoor Recording</p><p>Even when recording indoors, pay attention to equipment that may be a source of background noise. If possible, turn off the power supply, cover it with a blanket, etc. during recording to ensure good signal-to-noise ratio. Possible indoor noise sources include rumble noise from air conditioning units. Clocks. Fluorescent light ballast noise. Refrigerators, TV sets, etc.</p><p>h Recording with two types of recording in principle: close-up and wide.</p><p>In 2CH stereo recording, two types of recording are used as a basic principle: one is close up to the target sound source to reveal details, and the other is slightly further away to reveal the overall atmosphere of the sound source. This allows for a variety of uses, such as close-ups, long atmospheres, or a mix of both, depending on the content. This is especially effective for materials such as physical machines.</p><p>There is a latest recording technique that use 8trck recorders so far to deferent set up potions enable to record all at once..</p><p>i Measures to cope with changes in weather conditions such as rain, high temperature and humidity, etc.</p><p>In order to ensure accurate recording even in environments such as sudden rain or high temperature and humidity in the tropics, care must be taken with cables, connector terminals, recorder covers, etc. Use a tube-type plastic bag to cover connector terminals, and use a sturdy cover for the recorder from a manufacturer that produces special covers instead of the supplied covers for the recorder.</p><p>j For natural sounds, select the best location for stereo/surround recording</p><p>For natural sound, for 2CH stereo recording, there is no problem if you aim at the sound source target as it is. For surround sound recording, find a position where the sound sources are evenly distributed in 360 degrees as much as possible, or find a position where you can get a sense of spaciousness, for example, where there are reflections behind one main sound source. The main microphone arrangement for the purpose of surround recording includes the following methods, each of which has its own characteristics in the recorded sound field.</p><p><span style="color: red;">Comment:basic 4ch RECORDING MIKING</span></p><p>◎ One-point surround microphone</p><p>The one-point surround microphone can output at least 4 to 5 channels or even more in a single body. It is advantageous in terms of installation and mobility. The sound field is a little narrower.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qUrjvOkt4PP8GBpeL2qQJD3YSmfJ9XhoWY4mE3kW798eIo-0adA9u446t460oBNcxi5UQIvM6Lj3bHJCWpm3g-5GB2heREQDTOQAiQS0HnadIIlDcIxbPaTIHm67CrcZ8y6CJZmAcPcnjlBcviGrnImfs3KCEQRr34nNNpKxe0V1pZtC0keTMXuUZjX1/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9914.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qUrjvOkt4PP8GBpeL2qQJD3YSmfJ9XhoWY4mE3kW798eIo-0adA9u446t460oBNcxi5UQIvM6Lj3bHJCWpm3g-5GB2heREQDTOQAiQS0HnadIIlDcIxbPaTIHm67CrcZ8y6CJZmAcPcnjlBcviGrnImfs3KCEQRr34nNNpKxe0V1pZtC0keTMXuUZjX1/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9914.png" width="400" /></a></div><br /> <p></p><p>◎<span class="Apple-tab-span" style="white-space: pre;"> </span>W-AB</p><p>This is a microphone arrangement that expands the 2-CH stereo A-B system to the front and rear sides. The advantage is that you can record at the desired angle and distance with the microphone of your choice.</p><p>Installation is slightly larger in terms of equipment compared to the one-point arrangement.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiTTJBer-JxoABcvckhN7UtDZSs1JI5G_zIJ60a7wx46pD_nioBl1G2WRyFTZvFIc6BTSfZjSbriVKuKBivDwDlytD_ODGbEZkykSGXtcmXaazTrUpswYs_7xsEOqy0i_ZuXCdnDf8-31Dn4c5tG_HzN2QV9CXyyBEhiZ6PiIudIC63hPk59-ADzgZbft/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9915.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiTTJBer-JxoABcvckhN7UtDZSs1JI5G_zIJ60a7wx46pD_nioBl1G2WRyFTZvFIc6BTSfZjSbriVKuKBivDwDlytD_ODGbEZkykSGXtcmXaazTrUpswYs_7xsEOqy0i_ZuXCdnDf8-31Dn4c5tG_HzN2QV9CXyyBEhiZ6PiIudIC63hPk59-ADzgZbft/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9915.png" width="400" /></a></div><p><br /></p><p>◎ W-XY</p><p>This is also a 2-CH stereo X-Y system extended to the front and rear sides. This method is advantageous when the sound source is to be expressed clearly. The microphone can control the spaciousness by adjusting the X-Y spacing, but it does not have the same flexibility as W-AB.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy-GAYbXvhOvounEaINfbhs9vcIhJTCzcHtqEv4V6YgVfYQ7CQrOwzRbnesg0Q1GziBFe5_oE8VSBjnqjnJkcYlW_i3OmpfzWEFx4c48G2a2w5i1kv9Etsi1flhxlv2eVKx6NKHCh5LlnKdXZ7Ha1kb6U430ZFeCiZqIiE6OHR-hwslhFAyiHDx3_D0duk/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9916.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy-GAYbXvhOvounEaINfbhs9vcIhJTCzcHtqEv4V6YgVfYQ7CQrOwzRbnesg0Q1GziBFe5_oE8VSBjnqjnJkcYlW_i3OmpfzWEFx4c48G2a2w5i1kv9Etsi1flhxlv2eVKx6NKHCh5LlnKdXZ7Ha1kb6U430ZFeCiZqIiE6OHR-hwslhFAyiHDx3_D0duk/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9916.png" width="400" /></a></div><br /><p>◎ W-M/S</p><p>This is also a 2-CH stereo M/S system with an additional cardioid microphone for S for the rear, an omnidirectional microphone for M, and a total of three microphones via a matrix circuit to realize 4-CH recording.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs5sEjOH5bbu3unIwy23DP9ngReMr7uOCbYd1ymEj6ft0SXEETV5YEkuxT2HkAk9cDLz7EV8GQ9cJJM5g1ku9vqPBUQLhFgLzlLskkYCLO5S7HNr63y8efm0tvSZWu3flyLg9fCjHihYIUUkA-squHJFG0x0LCUp3cKU2v2cMKkEhBHs-BNG-NE8fH719D/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9917.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs5sEjOH5bbu3unIwy23DP9ngReMr7uOCbYd1ymEj6ft0SXEETV5YEkuxT2HkAk9cDLz7EV8GQ9cJJM5g1ku9vqPBUQLhFgLzlLskkYCLO5S7HNr63y8efm0tvSZWu3flyLg9fCjHihYIUUkA-squHJFG0x0LCUp3cKU2v2cMKkEhBHs-BNG-NE8fH719D/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9917.png" width="400" /></a></div><br /><p><br /></p><p>◎ W-ORTF</p><p>This is also a microphone arrangement that expands the 2-CH stereo ORTF method to the front and rear, providing both a sense of spaciousness and localization of the sound field.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MPWQXz5dcuV1c5E1EDig3mxhY6NllnhV7g-xCK6_ftYpCoILvBfiRnmu0DPVYrLrYaI_X1svthxtiiULfsmCb921FDa_yvUG72wmoIcQaQPCPXh4JumSW7HTf7J9fLhXnrfxFM8WCVAr4s0eITMITyShuIIi1izgWZnhICyNxXhph_ogI97eN-MBAT4y/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9918.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MPWQXz5dcuV1c5E1EDig3mxhY6NllnhV7g-xCK6_ftYpCoILvBfiRnmu0DPVYrLrYaI_X1svthxtiiULfsmCb921FDa_yvUG72wmoIcQaQPCPXh4JumSW7HTf7J9fLhXnrfxFM8WCVAr4s0eITMITyShuIIi1izgWZnhICyNxXhph_ogI97eN-MBAT4y/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9918.png" width="400" /></a></div><p><br /></p><p>◎ IRT-X</p><p>This is an arrangement in which a small microphone is attached to the tip of a 25cm X-shape microphone, which is small, lightweight, and mobile, and has advantages in recording ambiance sounds.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTtXNRsZiB5QnUxcv5b74LTrBNtDSkeXIzBcC-lB8neOh68poswdwOVFsA8YqdGAi4Z1SMEXz88lujLiaLX9ExX9pAijFoIb92XltYPI6zChtZhfM0r95iMU-7-3iYkxZYjh5V5-aJfo1PBwXh3jgZZkh4cOvszWYM3oVBujyV-xibMjvyuBbTTEKtUIC/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9919.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTtXNRsZiB5QnUxcv5b74LTrBNtDSkeXIzBcC-lB8neOh68poswdwOVFsA8YqdGAi4Z1SMEXz88lujLiaLX9ExX9pAijFoIb92XltYPI6zChtZhfM0r95iMU-7-3iYkxZYjh5V5-aJfo1PBwXh3jgZZkh4cOvszWYM3oVBujyV-xibMjvyuBbTTEKtUIC/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9919.png" width="400" /></a></div><br /> <p></p><p>◎ Array Method</p><p>Microphones are attached by combining bars. This is also characterized by the ability to select the desired microphone and directivity, but the larger the array, the more care must be taken in its installation.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8P7Cu2VOGf0YSro2wvZPupOGHM1zF-2rKQcsCO4-hTYJmV7KY2z-5MvDcQHUAmgkjuohdskqkbdOON0Mr4ux24dAC_uPsjBtyENaTwGhR9q7rVd_6-Bf4vK40lqJ07Fm1jll5UMO8Tmq9pKsfyyLSfDq55_ofIBUrAdJV9AePftWToDEVWeoI2lMQwZfC/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9920.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8P7Cu2VOGf0YSro2wvZPupOGHM1zF-2rKQcsCO4-hTYJmV7KY2z-5MvDcQHUAmgkjuohdskqkbdOON0Mr4ux24dAC_uPsjBtyENaTwGhR9q7rVd_6-Bf4vK40lqJ07Fm1jll5UMO8Tmq9pKsfyyLSfDq55_ofIBUrAdJV9AePftWToDEVWeoI2lMQwZfC/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9920.png" width="400" /></a></div><br /><p></p><p><br /></p><p>k A sound field in which space is established in three dimensions.</p><p><br /></p><p>⚫️ This is effective for closed-space sound sources. Forests surrounded by trees, caves, bamboo groves, rain, etc. are particularly suitable for such spaces, especially when there are sufficient sound sources above. Curiously, sound recorded at the right point can also be perceived as height information. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSee7TL5TG1-Qg-Mbi6OLFGseTPzxTc7c5D6O-2FZMAixhZyZAa2wbU9QsKS52IFw684fUTMYWitQcoMNXM6ISv0YKpROtwWJ2_VSzPS6SEB12Sym-qFeHyFWpaS6X-ui21IIqSGl3WivMZzNKu6YKbmBA2jDTjoJfP4pnrcBNX-XDZdUrKv_EhILE1YiR/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9921.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSee7TL5TG1-Qg-Mbi6OLFGseTPzxTc7c5D6O-2FZMAixhZyZAa2wbU9QsKS52IFw684fUTMYWitQcoMNXM6ISv0YKpROtwWJ2_VSzPS6SEB12Sym-qFeHyFWpaS6X-ui21IIqSGl3WivMZzNKu6YKbmBA2jDTjoJfP4pnrcBNX-XDZdUrKv_EhILE1YiR/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9921.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlTt_3zZ7nQrf-NpHr-4JyD1q_N_s6WbuGDk-jVAjY8WDxzW6XQ1XiV3hRDzxOG_rYD5lG9P9EDrK0YM0W2hC1aAW57bfeHumDu4B9W8x49GyHErHIbEUPd_mUXl-SO3E8g4S1_gqsecKCI7iU7xcJ1X12lh4OOB5h3zxjspVPjaQOkPD6zMSjXUt2ILmV/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9922.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlTt_3zZ7nQrf-NpHr-4JyD1q_N_s6WbuGDk-jVAjY8WDxzW6XQ1XiV3hRDzxOG_rYD5lG9P9EDrK0YM0W2hC1aAW57bfeHumDu4B9W8x49GyHErHIbEUPd_mUXl-SO3E8g4S1_gqsecKCI7iU7xcJ1X12lh4OOB5h3zxjspVPjaQOkPD6zMSjXUt2ILmV/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9922.png" width="400" /></a></div><br /><p>⚫️ A horizontally developed and OPEN sound field.</p><p>This is a beach, a river bank, or a meadow with a clear field of view. In this case, the sound field will be open above, so select a point where the sound can be recorded at an even level on a horizontal plane as much as possible. Especially on the coast, the sound of waves usually comes from the front only, and there is usually only a small rear component due to the presence of a sand forest. In such cases, a 4-channel frontal microphone arrangement is used to record the sound of the waves. Another way to enjoy the surround sound field is to enter the waves with the entire equipment and record at the point where the waves pass around the microphones.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD9tfKxYsNHFAmMVCBoBvJxns3KnAkKt3O_b6rmxj7d1O05RS1ZUUgMvfliToci3Np7kn5gw86LXKds6nR9-emQguVZam6Z3-SBrPu55l_RGi05FeSJ2dNTuChz6R7u3yHWD4KghNPzHsgXOmJpm2tneLleNIv4GfRTVHx1lGa07VxK5jrwpLC558EYcOq/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9923.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD9tfKxYsNHFAmMVCBoBvJxns3KnAkKt3O_b6rmxj7d1O05RS1ZUUgMvfliToci3Np7kn5gw86LXKds6nR9-emQguVZam6Z3-SBrPu55l_RGi05FeSJ2dNTuChz6R7u3yHWD4KghNPzHsgXOmJpm2tneLleNIv4GfRTVHx1lGa07VxK5jrwpLC558EYcOq/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9923.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitkUBnFXy6kwUJxOl7zVSC8nq-zcnT87CE5yXI0w1R9y1xlqovRqPq0pz1BEv7EJg_QrDKEMQgsy3m9EBbOOMaq_9nOKtpn6E6PdhkyjyDsM7RYgfHRpn95Sv3opHFPbKphnurBuc8x6kmcnekxLJZ-e9rIbRiA_Tr3QmiWIKMgHmKi1PQeIA7wc2VHKy/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9924.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitkUBnFXy6kwUJxOl7zVSC8nq-zcnT87CE5yXI0w1R9y1xlqovRqPq0pz1BEv7EJg_QrDKEMQgsy3m9EBbOOMaq_9nOKtpn6E6PdhkyjyDsM7RYgfHRpn95Sv3opHFPbKphnurBuc8x6kmcnekxLJZ-e9rIbRiA_Tr3QmiWIKMgHmKi1PQeIA7wc2VHKy/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9924.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9GWHBBetF_mIrn7mtAGlwrEN1hZxu398ckrGEvFncUlfU_ytF8F3SDS5bWoiWmNSRtYiobJupIZPwROz3nd4gh4VYK5Z8cwCdvl7Y4inn_e5pJot5AOFJmWXt632pjmkNh3-p3sVlT2lPDrx7beTEmDtGlsEsnBdUpA6H9nrFM6Id7mM6n8wuMez-ucll/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9925.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9GWHBBetF_mIrn7mtAGlwrEN1hZxu398ckrGEvFncUlfU_ytF8F3SDS5bWoiWmNSRtYiobJupIZPwROz3nd4gh4VYK5Z8cwCdvl7Y4inn_e5pJot5AOFJmWXt632pjmkNh3-p3sVlT2lPDrx7beTEmDtGlsEsnBdUpA6H9nrFM6Id7mM6n8wuMez-ucll/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%9925.png" width="400" /></a></div><br /><p><br /></p><p> n either case, you must carefully select a location where you can get a uniform level in 360 degrees, or where there are separate sounds in all directions.</p><p>When we are used to stereo recording, our ears tend to focus only on the front, but it is important to always select a location where there is a well-balanced sound source in all directions.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nFa2SXNLZLWxaTO5HDkRfYCwnnGKZYvRR0G2m1NsZW8aRmAei4XM9nmNoeT6UQi-amNr8yCFzzMacDCXW1GryncvLv_fG4LTnJ2XbbmKaiyX26pGHew3KCFpXZHP433UIw4oEz1Wwp9b-lnp143bptpNaaRo35M3Nb5OBtiVf7bMUGzESDvmUcy4sVJr/s720/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nFa2SXNLZLWxaTO5HDkRfYCwnnGKZYvRR0G2m1NsZW8aRmAei4XM9nmNoeT6UQi-amNr8yCFzzMacDCXW1GryncvLv_fG4LTnJ2XbbmKaiyX26pGHew3KCFpXZHP433UIw4oEz1Wwp9b-lnp143bptpNaaRo35M3Nb5OBtiVf7bMUGzESDvmUcy4sVJr/w400-h300/%E3%82%B9%E3%83%A9%E3%82%A4%E3%83%88%E3%82%992.png" width="400" /></a></div><br /><p><br /></p><p><br /></p><p> </p><div><br /></div>Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-75030683586806055142021-10-22T09:39:00.000-04:002021-10-22T09:39:11.098-04:00The noise structure and a hierarchical spectrum in nature and the Restoration <p style="text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBSx-9KnNSMoHiMwtiXZ9ucr2ej9ZN2HVQ6bsUnLrjf0_FHLRDlc7Wk0NchbVv7VH1htIAMRcWUclBXAbe7smzR9uXAbP7W2AeISswzJm8n1ZtJVvqJfTLWtDsjZOQZCX6PJDbbAeiFGK/s2048/FIG-01+kajika+wide.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBSx-9KnNSMoHiMwtiXZ9ucr2ej9ZN2HVQ6bsUnLrjf0_FHLRDlc7Wk0NchbVv7VH1htIAMRcWUclBXAbe7smzR9uXAbP7W2AeISswzJm8n1ZtJVvqJfTLWtDsjZOQZCX6PJDbbAeiFGK/w400-h268/FIG-01+kajika+wide.jpg" width="400" /></a></div><p style="text-align: right;">Mick Sawaguchi </p><p style="text-align: right;">Fellow Member of AES.ips C.E.O-UNAMAS Label</p><p><b>Introduction</b></p><p>Unwanted noise restoration technology contained in various recording materials has made remarkable progress due to the dramatic progress of sound analysis technology and the contribution of digital technology. Currently, it is by purpose, price, DAW, and hardware. Many Restoration products have appeared for us.</p><p>The author has made field recordings since 2000 and has released 14 titles from UNAMAS Label as UNAHQ 4001-4014 the Nature series.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_zAnncS58Ozb8ho7AI4jeIRJbk8CEdzpOCwPFAzrm0SrUFd_UPihuXmHy9qJ3o5QW3gZaGUPEm6k-v5hiwZ07M4viKB4p5slSKFXJR_fHBf2f5NrqlqC-4g95bUF0ekx4qyP7itVY7w7H/s2048/UNAHQ+4001+KUMANO+KODO++.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_zAnncS58Ozb8ho7AI4jeIRJbk8CEdzpOCwPFAzrm0SrUFd_UPihuXmHy9qJ3o5QW3gZaGUPEm6k-v5hiwZ07M4viKB4p5slSKFXJR_fHBf2f5NrqlqC-4g95bUF0ekx4qyP7itVY7w7H/s320/UNAHQ+4001+KUMANO+KODO++.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjArqzyZOeAYmugjPC5ysGUKolWBIeK1DrjHMGhiVO_8U87_LeRIPX1_hPcrNbNd1rM63R0dzTiuVeHw7Wxlw9n5qBJ1vjwr2UuU6IEMiVzKmZWL7eKomF_hSocQkdnIpI3_M6YI6pAhYOJ/s2048/UNAHQ+4014JK+w.w+VER.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjArqzyZOeAYmugjPC5ysGUKolWBIeK1DrjHMGhiVO_8U87_LeRIPX1_hPcrNbNd1rM63R0dzTiuVeHw7Wxlw9n5qBJ1vjwr2UuU6IEMiVzKmZWL7eKomF_hSocQkdnIpI3_M6YI6pAhYOJ/s320/UNAHQ+4014JK+w.w+VER.jpg" width="320" /></a></div><br /><p><br /></p><p>While in the process, I have created a database of individual noise sources that have been Restorated each time. This time, I will classify them into three types and introduce the actual restoration procedure.</p><p>Here, instead of focusing on how to use the Restoration software itself, I will focus on what kind of behavior and spectrum structure each noise is composed of, so please refer to it.</p><p><b>1 The fundamental of Restoration</b></p><p>The principle and function of Restoration are almost identical for any current product, and the optimum product or plug-in can be selected according to the nature and purpose of the noise to be repaired. In other words, it is easy to understand if you think that the structure is the same as Re-touch used for photo editing, with the mechanism of selecting unwanted noise and transplanting the spectrum structure analyzed from the noise-free area to remove it.</p><p>The author started restoration work with RX series 3, which can be said to be the de facto standard of Restoration software, but the material to be handled is 4CH for field recording material, also, necessary to repair the main 8CH for music with me, I am not familiar with the workflow to be output, due to various parameters are driven in to obtain the optimum result with RX. currently, I am using CEDAR-Retouch, which is specialized for Pyramix, so in this article, I will introduce the actual practice using the Retouch function.</p><p><b>1-1 Tips for efficient Restoration</b></p><p>● Set the noise source you want to repair to the center of the screen, select an area without noise before and after, and capture.</p><p>● If there are not many noise sources, the time axis for capturing can be up to about 30 seconds.</p><p>● For sound sources with densely concentrated noise sources, capture in about 10 seconds to secure a noise-free area with good visibility.</p><p>But It takes patience and time to repair.</p><p>● Identify noise and noise-free areas on the screen and secure as wide a noise-free area as possible on the left and right of the noise source to improve analysis accuracy. In the de facto, the left and right complementary areas of the noise source can be created evenly, but if there is more noise-free area on either side of the capture screen, widening it evenly will improve the accuracy.</p><p>● It is rare, when the repair is successful in one step, so if you combine the repair functions and drive-in, a beautiful repair will be completed.</p><p><b>1-2 Basic functions of Retouch</b></p><p>Retouch currently has seven repair functions, but I will only introduce the four main roles that I am using.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAh-zfXeoYS6S-VEW59CQWNroC5oPzycwBGpMg7Cmb12OLoX9bsPq6NU3_2xUvF1I9eFPiY3DI5iVulMGMloRd1FlW-mYj32Z_Staoptpf_yRRZUVe5XWXxVzKVRmKo9kFQYWBmrpxT0uN/s411/FIG-02+FUNCTIONS+on+Retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="352" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAh-zfXeoYS6S-VEW59CQWNroC5oPzycwBGpMg7Cmb12OLoX9bsPq6NU3_2xUvF1I9eFPiY3DI5iVulMGMloRd1FlW-mYj32Z_Staoptpf_yRRZUVe5XWXxVzKVRmKo9kFQYWBmrpxT0uN/s320/FIG-02+FUNCTIONS+on+Retouch.png" width="274" /></a></div><br /><p><br /></p><p>● Interpolation</p><p>● Erase</p><p>● Patch</p><p>● Cleanse.</p><p><br /></p><p>Here, the above four types of functions and features will be described using the pulse noise of snapping branches from the recording material of the forest as an example.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwyI7iHhRaAKOTEigCzJHazqXJmmz3EUxPQ6LsCSapAxgsVIKAFO6tPetKSNWovZq0_2VZHeWjvORGtRgomV0qlasoTgY6gOEulIIQzHo0ovSofV-GGARzPiKW-18AtqeGV3iGDiAi0ONA/s1402/FIG-03+fundamental+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwyI7iHhRaAKOTEigCzJHazqXJmmz3EUxPQ6LsCSapAxgsVIKAFO6tPetKSNWovZq0_2VZHeWjvORGtRgomV0qlasoTgY6gOEulIIQzHo0ovSofV-GGARzPiKW-18AtqeGV3iGDiAi0ONA/w400-h230/FIG-03+fundamental+retouch.png" width="400" /></a></div><br /> <p></p><p>● Interpolation</p><p>Like the name Complimentary Repair, it is a function that repairs noise from the noise-free range before and after there is no-noise, and this function is useful for about 80% of Restoration. The de facto has the advantage that it is selected evenly on the left and right as shown by the dotted line in the figure, and the connection between the front and back after restoration is smooth. The weak points are that it cannot be analyzed and repaired well unless there is a noise /free area larger than the area of the noise source and that if a too large area is greedily selected, the analysis unable to work.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XEzsAZcD9JCijb5tx-jd5fyXEHbEsx0A7TY1KUxs6gI_3m6dlQAg0bV8p4Qi_IqBO5eDLwSjO1A3ISsAagil6bPBmfyv9E3zzFa1KDnowD0oBRF4XAP1JNL47ZlDkJrHFQq0bhmbG7vM/s1402/FIG-04+interpolate+function.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XEzsAZcD9JCijb5tx-jd5fyXEHbEsx0A7TY1KUxs6gI_3m6dlQAg0bV8p4Qi_IqBO5eDLwSjO1A3ISsAagil6bPBmfyv9E3zzFa1KDnowD0oBRF4XAP1JNL47ZlDkJrHFQq0bhmbG7vM/w400-h230/FIG-04+interpolate+function.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAYe1weE3jMm4_qTXNy4yYZ8BZBCurVtABZuIUZAWLTi69DSBqbPqWr2KGr_pSVy-W-ie5yw3mG_-G9OKA57dCRfh4i5cRODHxhOwPE7zZHKzmaCj5Pb_ZJV4l9wFjgPpUCIopf3J_Z4LQ/s1402/FIG-05+interpolate+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAYe1weE3jMm4_qTXNy4yYZ8BZBCurVtABZuIUZAWLTi69DSBqbPqWr2KGr_pSVy-W-ie5yw3mG_-G9OKA57dCRfh4i5cRODHxhOwPE7zZHKzmaCj5Pb_ZJV4l9wFjgPpUCIopf3J_Z4LQ/w400-h230/FIG-05+interpolate+retouch.png" width="400" /></a></div><p><br /></p><p>● Erase</p><p>This function is a rather aggressive function that all clears the selection range instead of analyzing and repairing it before and after the noise, but it is effective when a valid noise-free area cannot be found before and after the noise. However, as you can see in the figure, the area other than the selected area is also cleaned, so this part must be supplemented with Interpolate or Patch again.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp7rK293A3BQ8uviQuTYo1w7A-xMTkz5fEnlx1vTirzA_dm9575ubeDG7xgQqd05HGX6W4luOEKqEUKGFZJ7yLhbjaamEa8O8_oNsanfwHw318_d6zVGLuVgDnj3ELvSqbw7I2J3pkkG09/s1402/FIG-06+erase+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp7rK293A3BQ8uviQuTYo1w7A-xMTkz5fEnlx1vTirzA_dm9575ubeDG7xgQqd05HGX6W4luOEKqEUKGFZJ7yLhbjaamEa8O8_oNsanfwHw318_d6zVGLuVgDnj3ELvSqbw7I2J3pkkG09/w400-h230/FIG-06+erase+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgZI7Jkq4vG1IfTIAfVClVMYt2l_mqA2Zo6WJU9qihlMgZyo5XqvXjAOlkVriZmakoRlftwVm4xtIH8qniBnpxc7ocDjWF2Y2XjgN-UivYQVQRbSJ966bijHiYn6_4Amltq305nkxZKXn/s1402/FIG-05+interpolate+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgZI7Jkq4vG1IfTIAfVClVMYt2l_mqA2Zo6WJU9qihlMgZyo5XqvXjAOlkVriZmakoRlftwVm4xtIH8qniBnpxc7ocDjWF2Y2XjgN-UivYQVQRbSJ966bijHiYn6_4Amltq305nkxZKXn/w400-h230/FIG-05+interpolate+retouch.png" width="400" /></a></div><p></p><p><br /></p><p>● Patch</p><p>This function is useful when you want to repair noise in a broad range instead of pulsed noise. First, secure a noise-free area, copy it to the noise source, replace it, and repair it. Please note that if you repeat copying, the background may look strange at the boundary. In that case, repeat a short interpolation before and after the border to smooth it.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn2fsFbbR_6VNb6-R7Qg1nxuq4PlgI1k_BuXUsC8e1IrK5Egz7U6jC5gDkBEBAXgaWWQTH1OEDyUvdKKTxXvNBCO97ZsZT0UfbaQDmb77UW1WiBL7gsFERK7Ym-StP2R7qYqlpbGWqnjLu/s1402/FIG-09+patch+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn2fsFbbR_6VNb6-R7Qg1nxuq4PlgI1k_BuXUsC8e1IrK5Egz7U6jC5gDkBEBAXgaWWQTH1OEDyUvdKKTxXvNBCO97ZsZT0UfbaQDmb77UW1WiBL7gsFERK7Ym-StP2R7qYqlpbGWqnjLu/w400-h230/FIG-09+patch+retouch.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd9kPLv_TPra9rktrqbGM3Lo3nCAKYnwhat7vZFCx9wOHmVh7d1fpzB-gsX8HgLeVsVAfYfmekaV_873DJyfqBVyNx0cPlh2mWYlYdRe90grUyEpf-KQkdgAeDmwgMX1HquEJfpG5VV_jY/s1402/FIG-08+patch+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd9kPLv_TPra9rktrqbGM3Lo3nCAKYnwhat7vZFCx9wOHmVh7d1fpzB-gsX8HgLeVsVAfYfmekaV_873DJyfqBVyNx0cPlh2mWYlYdRe90grUyEpf-KQkdgAeDmwgMX1HquEJfpG5VV_jY/w400-h230/FIG-08+patch+orig.png" width="400" /></a></div><br /><p></p><p>● Cleanse</p><p>This is effective when fine random noise is distributed over a wide range and cannot be repaired by the above functions. For example, it can be used when a random noise area and a noise-free area are intermittent. I don't use it much because it takes a lot of time to analyze and repair, and I don't see such a situation in nature sounds.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8J0nnsMJ7QQIhIRb-5r-zYBm95uO43zl_B1biqHyKuwwDTplvTBAytCGe-74tCcsf7ky2slIw4VHEiDn3kyujAGJhhx8k_ThzvxUkm48n0VadXTqd_vCDu70LIU2DS13fP2jBgqaRBcw/s1402/FIG-10+cleanse+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8J0nnsMJ7QQIhIRb-5r-zYBm95uO43zl_B1biqHyKuwwDTplvTBAytCGe-74tCcsf7ky2slIw4VHEiDn3kyujAGJhhx8k_ThzvxUkm48n0VadXTqd_vCDu70LIU2DS13fP2jBgqaRBcw/w400-h230/FIG-10+cleanse+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJ-Yh3Nj2ph2-beiSaAqNg2HKbKsM5IUZaNzAmg75bLai-lLbxy-G4fMiYxaAAH0M7IihMbqZJRZhMY0K31aL5unryKEZtrCiBf_uWcmMWUhOvZOIbtLDZEUeH2NzALphWgZ4VbKYF5WM/s1402/FIG-11+cleanse+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJ-Yh3Nj2ph2-beiSaAqNg2HKbKsM5IUZaNzAmg75bLai-lLbxy-G4fMiYxaAAH0M7IihMbqZJRZhMY0K31aL5unryKEZtrCiBf_uWcmMWUhOvZOIbtLDZEUeH2NzALphWgZ4VbKYF5WM/w400-h230/FIG-11+cleanse+retouch.png" width="400" /></a></div><p><br /></p><p><b>2 3 types of noise spectrum structure and actual restoration</b></p><p>Now that we have introduced the basic functions, we will introduce the actual situation of Restoration by selecting about 20 various types from the database for each of the three types.</p><p><b>2-1 Spike / short-time pulse noise</b></p><p>Pulse noise, which often occurs in musical instruments, can be almost repaired with the Interpolate function. Although it is a short pulse, if you do not select the area around the nose as the selection range, the sound will change due to the effect of restoration even in the area without noise, so select the noise source area as narrow as possible.</p><p>An example of this is the noise of some well-conditioned forest rain hitting the microphone. If there are free areas on the left and right of the noise like this, it can be repaired with a single Interpolate.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3D4XHOphCwM0f_UuPXkxOMaQ49GZ_uOCjWkF2RMSY96_-6u9TX_jLbw60wYHZMPP9ydBngovFQfSz2fx9v-Rj51YUJQcI7cYRCmzF6O-shlngaWIZBZXW2OXmyTndP6Z7tctKtCBhKBPh/s1402/FIG-12+rain+drop+few+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3D4XHOphCwM0f_UuPXkxOMaQ49GZ_uOCjWkF2RMSY96_-6u9TX_jLbw60wYHZMPP9ydBngovFQfSz2fx9v-Rj51YUJQcI7cYRCmzF6O-shlngaWIZBZXW2OXmyTndP6Z7tctKtCBhKBPh/w400-h230/FIG-12+rain+drop+few+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVHWHIKXUMLCsh-ayvBqDV9b9w2Xx1PbLNbgW-L-gadXVBnUkM-6Eg599udSitqm48OAa-juTQY5vPY6WrdYVB8IgQLdDkmUTxGMHOEQEVw_QIYbVSZ2F_6AXNIeXNCY4RpexZgXtNtrZ6/s1402/FIG-13+rain+drop+few+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVHWHIKXUMLCsh-ayvBqDV9b9w2Xx1PbLNbgW-L-gadXVBnUkM-6Eg599udSitqm48OAa-juTQY5vPY6WrdYVB8IgQLdDkmUTxGMHOEQEVw_QIYbVSZ2F_6AXNIeXNCY4RpexZgXtNtrZ6/w400-h230/FIG-13+rain+drop+few+retouch.png" width="400" /></a></div><br /><p>The following is an example of repairing it because it is short but unexpectedly noticeable due to the snapping noise that occurs when the branch is broken by the wind. Due to few snapping noise on it.</p><p> </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-ivCmsC2s0yjX-HJwRrbblonn9mSzDDXA3IRp9aUKlUYq8jnlcKBXXP9XZCLl-najNzhOkVWpHNnUcn7ar8EceGfD1x2LTR1RQAfrs4XfTWF5EuGXJ0ITanJToeYSpk4yaMN66yOHHRX/s1402/FIG-14+tree+crack+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-ivCmsC2s0yjX-HJwRrbblonn9mSzDDXA3IRp9aUKlUYq8jnlcKBXXP9XZCLl-najNzhOkVWpHNnUcn7ar8EceGfD1x2LTR1RQAfrs4XfTWF5EuGXJ0ITanJToeYSpk4yaMN66yOHHRX/w400-h230/FIG-14+tree+crack+orig.png" width="400" /></a></div><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbrILjgtnGPDBZqSFVEpukf6h9Q8HLK2YocWLcfkc5i1ocxPQyOWZlBgx9Ic2Pm82Th7ycmRalaff7VwRF9tFWS8UIFV653Nzp-SvQZClsPsHZxZG0PJNBJMDHFNzBhCbLXjOPNhJcBuE/s1402/FIG-15+tree+crack+retouch.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbrILjgtnGPDBZqSFVEpukf6h9Q8HLK2YocWLcfkc5i1ocxPQyOWZlBgx9Ic2Pm82Th7ycmRalaff7VwRF9tFWS8UIFV653Nzp-SvQZClsPsHZxZG0PJNBJMDHFNzBhCbLXjOPNhJcBuE/w400-h230/FIG-15+tree+crack+retouch.png" width="400" /></a> </p><p><br /></p><p>This is the sound of the wooden door of a house closing somewhere far away, but it echoes back and forth.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1bYMMKRS28RHeoUpsbRaU9glZH65OYqSyGuP9GufhM6uW3EWMwH2sCW04wVLY1hZ1ZHVUn1WrozCwtdZDz3apqsVrin1SAvZtLT2mUeggvNc0k-6mA1A_6RJGSwG86dfGrRxh4mfEzrl/s1402/FIG-18+gatan+nose+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1bYMMKRS28RHeoUpsbRaU9glZH65OYqSyGuP9GufhM6uW3EWMwH2sCW04wVLY1hZ1ZHVUn1WrozCwtdZDz3apqsVrin1SAvZtLT2mUeggvNc0k-6mA1A_6RJGSwG86dfGrRxh4mfEzrl/w400-h230/FIG-18+gatan+nose+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerNehO4oEYfzUe3HPZGhAmMhpJEgmmWCX8jsaQqDOAbco0ZrTatjJ9PPb5AWFYFDgfpd8NuKYifQrsk07rouxOZgL_MIqdxtlMe93QV6Y0T49-qCgSbr-_YNnxUyP7m6Sq_CsYw_9RxjE/s1402/FIG-19+gatan+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerNehO4oEYfzUe3HPZGhAmMhpJEgmmWCX8jsaQqDOAbco0ZrTatjJ9PPb5AWFYFDgfpd8NuKYifQrsk07rouxOZgL_MIqdxtlMe93QV6Y0T49-qCgSbr-_YNnxUyP7m6Sq_CsYw_9RxjE/w400-h230/FIG-19+gatan+retouch.png" width="400" /></a></div><br /><br /><p></p><p>This is a single shot of noise generated by popping bubbles when recording a mountain stream, so it can be easily repaired. Blow sound in the center of the low range can be repaired more beautifully by selecting the noise source with Erase rather than Interpolate.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-74It629EVOYsKOxgwZPryStRmeGainm5yf8pRa-J8cLgX6M7HsIB0WvpdgqMtT6OQi2dy0eEXxQp71P5nhBZY6nzNJZcvR3OrQx3v6OsrZJnkG1LA_i8uRlEpTOMfCupMcFz2TlPLuke/s1402/FIG-20+water+bable+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-74It629EVOYsKOxgwZPryStRmeGainm5yf8pRa-J8cLgX6M7HsIB0WvpdgqMtT6OQi2dy0eEXxQp71P5nhBZY6nzNJZcvR3OrQx3v6OsrZJnkG1LA_i8uRlEpTOMfCupMcFz2TlPLuke/w400-h230/FIG-20+water+bable+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrD0hCR-muQV4pgQlwMaCUFk91fd1ptyypNHGDIFb-mMQz_jjXkiQ3hQjxJBbycO06Na_IuRDZPR1FmdR_USW_aDBS6nvMAw6PsFun-ahCQJjjLDQiRSxZPat6g6m1MHuPyaQK_JzgKKHH/s1402/FIG-21+water+bable+re-touch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrD0hCR-muQV4pgQlwMaCUFk91fd1ptyypNHGDIFb-mMQz_jjXkiQ3hQjxJBbycO06Na_IuRDZPR1FmdR_USW_aDBS6nvMAw6PsFun-ahCQJjjLDQiRSxZPat6g6m1MHuPyaQK_JzgKKHH/w400-h230/FIG-21+water+bable+re-touch.png" width="400" /></a></div><br /><p><br /></p><p>This is the footsteps of a hiker walking down a mountain road, which is a bit complicated. To secure a free area, the capture time axis should be as short as possible to secure a free area before and after the footsteps, and Interpolate and Erase should be combined to expand the free area in detail. If you can secure a certain range, you can improve efficiency by copying with Patch at the end.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-bOOEWbA4W30OdPeJCny8Xgv3J4FMrI8tGf3SY1mYCu0_lxhJmPGCZPE2GPJUayZ2ikDkzvl9jCa0ZVQGJa3TS4LpW-zvHJvdV5Xk9xigyLllOQsD5Zwz1I5VInG2rZOo3F4fMfEd2cAa/s1402/FIG-22+foot+step+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-bOOEWbA4W30OdPeJCny8Xgv3J4FMrI8tGf3SY1mYCu0_lxhJmPGCZPE2GPJUayZ2ikDkzvl9jCa0ZVQGJa3TS4LpW-zvHJvdV5Xk9xigyLllOQsD5Zwz1I5VInG2rZOo3F4fMfEd2cAa/w400-h230/FIG-22+foot+step+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_OSsKEVCVKaUi-wtVe5YA1Me2Icl4EJJ0rk5oqHQGL6VFA9HKnb902SXkhsKAga9hXfSE9MTsWWX0Wv5JkpzgpDnzoOiO3jnZPTHgDZhu5kiSyeIay9ObOy0-kdDjiIDVAAhsmfG05GK/s1402/FIG-23+foot+step+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_OSsKEVCVKaUi-wtVe5YA1Me2Icl4EJJ0rk5oqHQGL6VFA9HKnb902SXkhsKAga9hXfSE9MTsWWX0Wv5JkpzgpDnzoOiO3jnZPTHgDZhu5kiSyeIay9ObOy0-kdDjiIDVAAhsmfG05GK/w400-h230/FIG-23+foot+step+retouch.png" width="400" /></a></div><br /><p><b>2-2 Broad noise over time</b></p><p>The second is a widespread noise source over time rather than pulsed.</p><p>It can be seen in the sounds of crows, hikers chattering, and people talking, children's play voices, etc.</p><p>Since the spectrum of the passing sound has a hierarchical structure, it is divided into small pieces and deleted with Erase, and if a free area is created, it will be replaced with Patch.</p><p> These are examples of</p><p>*long terms of wind noise</p><p>*wind noise often with enough space</p><p>* flying bug around microphone</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1SIR1qrbUFJDPJhdvSwM7h-Pk-cruCIPtC-WTaYSIBL2_EocmM7D6yFV-jFSZs4lt-Wg0fG4tJ6Wpuv62ZvpUvysP4MPvewCj1Xh8Fn27nUwoCB8fNlhECqYey4dIIEbXwA6HltgEcbs/s1402/FIG-24+wind+pop+noise+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1SIR1qrbUFJDPJhdvSwM7h-Pk-cruCIPtC-WTaYSIBL2_EocmM7D6yFV-jFSZs4lt-Wg0fG4tJ6Wpuv62ZvpUvysP4MPvewCj1Xh8Fn27nUwoCB8fNlhECqYey4dIIEbXwA6HltgEcbs/w400-h230/FIG-24+wind+pop+noise+orig.png" width="400" /></a><span style="text-align: left;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkg5swllnDfT3j_4r6I8PRXDupAiCbjW3vKnLOtgxmWwx_0YFWA3I_hm3X5HIu3vtuNlk-qLKO8-CLm-MaPlDTyXIPyIWUr73iVdVAWu4xkpAkGY7SfivRehwPyIlkck34a_pyc7YgbXhx/s1402/FIG-25+wind+pop+noise+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkg5swllnDfT3j_4r6I8PRXDupAiCbjW3vKnLOtgxmWwx_0YFWA3I_hm3X5HIu3vtuNlk-qLKO8-CLm-MaPlDTyXIPyIWUr73iVdVAWu4xkpAkGY7SfivRehwPyIlkck34a_pyc7YgbXhx/w400-h230/FIG-25+wind+pop+noise+retouch.png" width="400" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XVtcwmPJoVtIC6z30r3rv9KdNVX6_gxIQ-kJXZw9JZIgSwjAs2yc6zyeyZhkoALSwLBlauswE-pORgMnkvN3yOK8j-edkNkEUqbBc-QHxmYuV6Xi_ZBYGs83A5xPtHKYWcGRge29AlB5/s1402/FIG-26+wind+noise+-02+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XVtcwmPJoVtIC6z30r3rv9KdNVX6_gxIQ-kJXZw9JZIgSwjAs2yc6zyeyZhkoALSwLBlauswE-pORgMnkvN3yOK8j-edkNkEUqbBc-QHxmYuV6Xi_ZBYGs83A5xPtHKYWcGRge29AlB5/w400-h230/FIG-26+wind+noise+-02+orig.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFk-4WB79RV7tfO5uolbaLeWcJScbRgFaf6YcHSD1Bhpy-hrRCXDvubrh64IscTS7AreAYJILbE5ZWbwmejtAa6C0L0h5SwBTNuHZ5FVjzJq0Ua6TSNXP2Ll2kTGZOc9KFFxT13_pcjZAH/s1402/FIG-27+wind+noise-02+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFk-4WB79RV7tfO5uolbaLeWcJScbRgFaf6YcHSD1Bhpy-hrRCXDvubrh64IscTS7AreAYJILbE5ZWbwmejtAa6C0L0h5SwBTNuHZ5FVjzJq0Ua6TSNXP2Ll2kTGZOc9KFFxT13_pcjZAH/w400-h230/FIG-27+wind+noise-02+retouch.png" width="400" /></a></div></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJeOyxSU7-CSpLIKulfRK3Ts2wHyGL4VfnGHMVPZgqD_cnx9uA_aruJOBGLW5ZNKw9OTDw6WwetUJUMC3OToQl8WxVZ9HuNC21XQUfV3KsMKjLfwYahZAQObYVejP0Vy7d4_WzPadTFjBE/s1402/FIG-28+bug+fly+orig.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJeOyxSU7-CSpLIKulfRK3Ts2wHyGL4VfnGHMVPZgqD_cnx9uA_aruJOBGLW5ZNKw9OTDw6WwetUJUMC3OToQl8WxVZ9HuNC21XQUfV3KsMKjLfwYahZAQObYVejP0Vy7d4_WzPadTFjBE/w400-h230/FIG-28+bug+fly+orig.png" width="400" /></a></p><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWl4ZQfCg-6KX4M_ri2SxYZWCO6oBvXMTT-FS7aofKzeRzGTfF9pEsZnNs6qRtkf9_aBHxiWbq8RZT4XO9GwjI2EPT5kEYMRYD3h0QPUoprMJH1cnZeXScKY0wCVZ_tLV8jcCoT2eFbc7A/s1402/FIG-29+bug+fly+retouch.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWl4ZQfCg-6KX4M_ri2SxYZWCO6oBvXMTT-FS7aofKzeRzGTfF9pEsZnNs6qRtkf9_aBHxiWbq8RZT4XO9GwjI2EPT5kEYMRYD3h0QPUoprMJH1cnZeXScKY0wCVZ_tLV8jcCoT2eFbc7A/w400-h230/FIG-29+bug+fly+retouch.png" width="400" /></a></p><p></p><p> This is the sound source when the microphone gets wet due to sudden thunder and convectional rain during recording due to the noise of a difficult object. As you can see from the time axis, water droplets are dripping almost once a second, but since it is a precious sound, it is an example of repairing by combining Erase and Patch one by one. It is a typical example to need a patient and time!</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZP9KZHyvxWUIJ1yQfjO1JlmU3AA7AYkgGkydU84YhHRGB4zhuQy4Qv27ujW5QeGV5peIMqOabmoeAX8f2bGmG-oLgTYtuwSXyN8E0TMn7m7IClRcGuZ9j1uVhnxLLdy43amG5r08rT2V/s1402/FIG-30+rain+original.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZP9KZHyvxWUIJ1yQfjO1JlmU3AA7AYkgGkydU84YhHRGB4zhuQy4Qv27ujW5QeGV5peIMqOabmoeAX8f2bGmG-oLgTYtuwSXyN8E0TMn7m7IClRcGuZ9j1uVhnxLLdy43amG5r08rT2V/w400-h230/FIG-30+rain+original.png" width="400" /></a></div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGzVv7X-sajkwPUTL-JGX2zujW99j48zeViSEXfHf5-aVMRSR8tS5TV5OIutVUnNHT7nD6vmhr8-0u5UDr67LWXe1zQdn_DMQTVoqU8P8LqhOM5rgZ-6MOzPxCVXRkAm3KC5c7BXTQCdVV/s1402/FIG-31+rain+restration.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGzVv7X-sajkwPUTL-JGX2zujW99j48zeViSEXfHf5-aVMRSR8tS5TV5OIutVUnNHT7nD6vmhr8-0u5UDr67LWXe1zQdn_DMQTVoqU8P8LqhOM5rgZ-6MOzPxCVXRkAm3KC5c7BXTQCdVV/w400-h230/FIG-31+rain+restration.png" width="400" /></a></div><br /><br /><p></p><p> The crow's voice is not very pleasant unless it is for a special purpose, so you can delete it with Interpolate or Erase more beautifully than you expected. </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FitlapCxgHerXdJYEIant42d67VLU5RDXELYGRRAEh_IP0BMebWFl8THwN-jnh7plUNvmDSZx0hMQuitjlVeqaSOu6QrE-P__IIhMScHulLa-JR8IrJUqjgXM-oMNWqLgPOHZzutplBG/s1402/FIG-32+karasu+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FitlapCxgHerXdJYEIant42d67VLU5RDXELYGRRAEh_IP0BMebWFl8THwN-jnh7plUNvmDSZx0hMQuitjlVeqaSOu6QrE-P__IIhMScHulLa-JR8IrJUqjgXM-oMNWqLgPOHZzutplBG/w400-h230/FIG-32+karasu+orig.png" width="400" /></a><span style="text-align: left;"> </span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFUJNV1jn9pg4v4t5NQakmSB78tHqHbA08Y3B6NjvXicpL0GpaUfzmTO1r_DA40aw68_ujR-o_o09t125L53TFVkUSVxMwxDdJ_6nNtC6Ngbu9CABc-UsfjVGQRoxxXWxSS6BlmUE16Ja/s1402/FIG-33+karasu+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFUJNV1jn9pg4v4t5NQakmSB78tHqHbA08Y3B6NjvXicpL0GpaUfzmTO1r_DA40aw68_ujR-o_o09t125L53TFVkUSVxMwxDdJ_6nNtC6Ngbu9CABc-UsfjVGQRoxxXWxSS6BlmUE16Ja/w400-h230/FIG-33+karasu+retouch.png" width="400" /></a></div><br />Since the human voice is also a hierarchical spectrum, it can be repaired with Interpolate if there are free areas before and after, but where there is a lot of bass noise, Erase is used to finely delete each layer.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeaT82AnEniCq59aARfOthgtWbvuXgKejInY8pgvYCe4WjZuQsJb139iqM16eCdppya6NTxnGcEqaOMcPYI5TuLdYxNKEa6pxCUYMtAHLCrlUNKaqxXJtHoev2c-6tqCTacAYtOLNk1Xm2/s1402/FIG-34+mail+voice+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeaT82AnEniCq59aARfOthgtWbvuXgKejInY8pgvYCe4WjZuQsJb139iqM16eCdppya6NTxnGcEqaOMcPYI5TuLdYxNKEa6pxCUYMtAHLCrlUNKaqxXJtHoev2c-6tqCTacAYtOLNk1Xm2/w400-h230/FIG-34+mail+voice+orig.png" width="400" /></a></div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpou5fEd1dOis1WnfrbmqNmGZmChg1kmEODr3nEG2_XWGLf7oQnA0E5xwjRHvEOKwuYIM8x0P0NPPLXdPuZoI45bwcnM1pM7jutj5sFjvEA8ZYjzpCpw0kNZ-4XOaFA6xAVqzPyIVj14Zm/s1402/FIG-35+mail+voice+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpou5fEd1dOis1WnfrbmqNmGZmChg1kmEODr3nEG2_XWGLf7oQnA0E5xwjRHvEOKwuYIM8x0P0NPPLXdPuZoI45bwcnM1pM7jutj5sFjvEA8ZYjzpCpw0kNZ-4XOaFA6xAVqzPyIVj14Zm/w400-h230/FIG-35+mail+voice+retouch.png" width="400" /></a></div><br /><br /><p></p><p>The children's play voices have a very random spectrum, so Erase them one by one, and when they are almost clean, use Interpolate to adjust the editing points.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvKem6MPobT4MuVDo-SzWVoKnNJQXLCkh4rbHWXH-SdgBQBzFrkNYF4ivZYibTwQsnBdpKTxS07S87NRuJ17hhqJtDZ2P8l3y9RIpJ6BAmVg-w7ke0qvggIpvCO6VKyAAxMXj67hYPndfL/s1402/FIG-36+kids+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvKem6MPobT4MuVDo-SzWVoKnNJQXLCkh4rbHWXH-SdgBQBzFrkNYF4ivZYibTwQsnBdpKTxS07S87NRuJ17hhqJtDZ2P8l3y9RIpJ6BAmVg-w7ke0qvggIpvCO6VKyAAxMXj67hYPndfL/w400-h230/FIG-36+kids+orig.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZzpXhmtM1txfAwHHqKiDoAzJykg8z3FY0o2nZLSOMx441vqwriDYsbQbhbNUn06kuzQsBNwd02OrLDd8_zlBhSfzHVQoP0y2LbQ4K4VgfVqharBxhRw4RYscd204XlspwwlMjpSWlqJ3/s1402/FIG-37+kids+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZzpXhmtM1txfAwHHqKiDoAzJykg8z3FY0o2nZLSOMx441vqwriDYsbQbhbNUn06kuzQsBNwd02OrLDd8_zlBhSfzHVQoP0y2LbQ4K4VgfVqharBxhRw4RYscd204XlspwwlMjpSWlqJ3/w400-h230/FIG-37+kids+retouch.png" width="400" /></a></div><br /> <br /><p></p><p> This is an example of few people chattering at bird watching. There are many background sound too. It needs a fine select area one by one then apply erase function.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDfYPTZ5SrrxdLqd3jd1NgUQfhkcyaJ-urxD9HtfYpDQkxDIbHy5FsmChWbS6J5EskSzgSgMUvKmPmrG5V7_O3rps39yiuaXXBlB0325Oh5zwX-_l0nIjQmuKHtpC-2kbKnysY51NEZBEK/s1402/FIG-38+gaya+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDfYPTZ5SrrxdLqd3jd1NgUQfhkcyaJ-urxD9HtfYpDQkxDIbHy5FsmChWbS6J5EskSzgSgMUvKmPmrG5V7_O3rps39yiuaXXBlB0325Oh5zwX-_l0nIjQmuKHtpC-2kbKnysY51NEZBEK/w400-h230/FIG-38+gaya+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt7RzMZ2F_wpBkMPkHw2B5Qndzg4Y8aqdMw5ZyXxcaKgg2CRthovavtUPtiKzCZG8EfiqfZ_ahkFZ26vKLPgPf0KSxYG6P2q0N61Kqnn9eQxLEL7MuS0ctC61SprcqzKXmXzDsYcD4KGA/s1402/FIG-39+gaya+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt7RzMZ2F_wpBkMPkHw2B5Qndzg4Y8aqdMw5ZyXxcaKgg2CRthovavtUPtiKzCZG8EfiqfZ_ahkFZ26vKLPgPf0KSxYG6P2q0N61Kqnn9eQxLEL7MuS0ctC61SprcqzKXmXzDsYcD4KGA/w400-h230/FIG-39+gaya+retouch.png" width="400" /></a></div><p><br /></p><p><b>2-3 Steady-state persistent noise</b></p><p>Steady sounds whose spectrum does not change over time can be quite annoying noises for a long time. Driving car sounds on distant highways, chime broadcasts that inform morning and evening times, small airplanes, passing trains, fishing boat engines, chainsaws, etc. These are finely deleted with Erase, and the edited points are corrected with Patch or Interpolate.</p><p>This is an example of morning chime at seaside.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoROl8rHzcSTrULw1tmIxDfhFATKsnevKX-b8ot4hX4CfiIwCOzJJkqR1ldo7ynR0hPJp_52FXx-icMpr9t_GohLFmkXdVvb1qtf1Vnvyf_-w-m42Yzhfqw1LRgSoi2k43l2qGbhR6X99X/s1402/FIG-40+am06+chaim02+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoROl8rHzcSTrULw1tmIxDfhFATKsnevKX-b8ot4hX4CfiIwCOzJJkqR1ldo7ynR0hPJp_52FXx-icMpr9t_GohLFmkXdVvb1qtf1Vnvyf_-w-m42Yzhfqw1LRgSoi2k43l2qGbhR6X99X/w400-h230/FIG-40+am06+chaim02+orig.png" width="400" /></a><span style="text-align: left;"> </span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicH2AOtBZgzhzJZ3F2g2tawolAghL9tDbHfuU5eLag5lU_dzi3M5KxSVV0AdTcorcbCU8t6TjDrsUm49nm-DGdRYthCpZtM6mQCZgYFKuhWCfRKOW2hrr3mI717gBV6E5AsY2VAGlRabFj/s1402/FIG-41+am06+chaim02+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicH2AOtBZgzhzJZ3F2g2tawolAghL9tDbHfuU5eLag5lU_dzi3M5KxSVV0AdTcorcbCU8t6TjDrsUm49nm-DGdRYthCpZtM6mQCZgYFKuhWCfRKOW2hrr3mI717gBV6E5AsY2VAGlRabFj/w400-h230/FIG-41+am06+chaim02+retouch.png" width="400" /></a></div><p></p><p><br /></p><p>This is an example of chain saw sound at mountain.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBTAVsvDJ9_UTDp5c82g0JvEyUDeirT921MYm46SjDw5R_Cp_BrpSdHyMTeWWrlP9Fe5EunzPlIL6HEoAEhoL5lpjvSewy-NX1K1Xx8SKthSg7HQ5d10VwPR3cVXRKKUifo5wcGcTicaRI/s1402/FIG-42+chainsaw+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBTAVsvDJ9_UTDp5c82g0JvEyUDeirT921MYm46SjDw5R_Cp_BrpSdHyMTeWWrlP9Fe5EunzPlIL6HEoAEhoL5lpjvSewy-NX1K1Xx8SKthSg7HQ5d10VwPR3cVXRKKUifo5wcGcTicaRI/w400-h230/FIG-42+chainsaw+orig.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrcSbBHsaJL0FKPDF95lDpxpAJUTG6QJl-asAAqv_ifr8ktAfToeUzjUuXRKFhRoVZLZL6WFc891srCGYLa_dGw22iyDU5xEHu4Z1gzcgmjtzVbYlKCnYyHtIuagTd7FFFQJ_3I55LJ-TM/s1402/FIG-43+chainsaw+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrcSbBHsaJL0FKPDF95lDpxpAJUTG6QJl-asAAqv_ifr8ktAfToeUzjUuXRKFhRoVZLZL6WFc891srCGYLa_dGw22iyDU5xEHu4Z1gzcgmjtzVbYlKCnYyHtIuagTd7FFFQJ_3I55LJ-TM/w400-h230/FIG-43+chainsaw+retouch.png" width="400" /></a></div><br /><p><br /></p><p>This is an example of driving car passing on the bridge.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oWPggctvtY-OP2R3a_weDUYSWewwif0EVqOL0hQ0nWZDzI7RiSq_90mUjlpxuWLYyqjHb9hqMKXXyOL1ZtypButfnd6Emjh152z58uylfIQIZhtUNrF8Dz7J0e1zwQeqi-npMx1gLFjv/s1402/FIG-44+car+pass+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oWPggctvtY-OP2R3a_weDUYSWewwif0EVqOL0hQ0nWZDzI7RiSq_90mUjlpxuWLYyqjHb9hqMKXXyOL1ZtypButfnd6Emjh152z58uylfIQIZhtUNrF8Dz7J0e1zwQeqi-npMx1gLFjv/w400-h230/FIG-44+car+pass+orig.png" width="400" /></a></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnsPUkOHYUwlBDOFtZ46MGjiF5kUqRRZr5QIpEjI402uza_tXiN4ejsciZX57I15wp1MfkcT2trh67ejsM8n6SADhSTL-Sz-E5Xgwo-JWl8GuYNxnkaKosQuZAh-6031RWm_t60013Qph6/s1402/FIG-45+car+pass+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnsPUkOHYUwlBDOFtZ46MGjiF5kUqRRZr5QIpEjI402uza_tXiN4ejsciZX57I15wp1MfkcT2trh67ejsM8n6SADhSTL-Sz-E5Xgwo-JWl8GuYNxnkaKosQuZAh-6031RWm_t60013Qph6/w400-h230/FIG-45+car+pass+retouch.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><br /></p><p>This is an example of ambulance car passing on the street.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiano-BHl55TvoqXXuFspVj5HMF0-hRfNOJ5eBS7UyRumrQt5KQgrWsuhhIMEq0m8_RwWbuefKFTMGpaocO-lY73ox4xllUWACYuVxH7aBrTTSIOJuVrMRi5yIhjN6NBIQSpAylQG57r-9w/s1479/FIG-46+amburance+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1479" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiano-BHl55TvoqXXuFspVj5HMF0-hRfNOJ5eBS7UyRumrQt5KQgrWsuhhIMEq0m8_RwWbuefKFTMGpaocO-lY73ox4xllUWACYuVxH7aBrTTSIOJuVrMRi5yIhjN6NBIQSpAylQG57r-9w/w400-h224/FIG-46+amburance+orig.png" width="400" /></a><span style="text-align: left;"> </span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkOx8W5E46TwlxsgprC7IalWHnFXVxiritPuW2Fvo-gMihU1IUdD_vrFihz-yO08q5p5Bzrwsc9iKVvX6DzBjPhEBNdd7dvftk72mJtChFJhoeEwGDCXx9d4ZtoMUmbI9mas-5Yq68bhu/s1402/FIG-47+amburance+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkOx8W5E46TwlxsgprC7IalWHnFXVxiritPuW2Fvo-gMihU1IUdD_vrFihz-yO08q5p5Bzrwsc9iKVvX6DzBjPhEBNdd7dvftk72mJtChFJhoeEwGDCXx9d4ZtoMUmbI9mas-5Yq68bhu/w400-h230/FIG-47+amburance+retouch.png" width="400" /></a></div><br /><br /><p></p><p>This is an example of fishing boat start and run on the sea.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpnyOjHH3qcpyV5qFcrWrXmfHNVQiFXvHk6XROO0qEpfcWM8Df7rJANUIIPfgbPel_5GdtIWd9Uq8jJ53yY-w0s-3zlMMNSxB4ywq29nmqANTm09Ik0LajKd8tX9aU60FX1x8vVOZSUKID/s1402/FIG-48+fishboat+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpnyOjHH3qcpyV5qFcrWrXmfHNVQiFXvHk6XROO0qEpfcWM8Df7rJANUIIPfgbPel_5GdtIWd9Uq8jJ53yY-w0s-3zlMMNSxB4ywq29nmqANTm09Ik0LajKd8tX9aU60FX1x8vVOZSUKID/w400-h230/FIG-48+fishboat+orig.png" width="400" /></a></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNeYCkLz5Yknl8e9AtLY309Mi-WVCJAi5UKAtw9XCD-zuJrCtXC0h3FLrvcZfJ9WT1nuVfpJF099dKs8e2DazlQCX_FXNouZi2vuIJc2DgsXecWBhdkxE_s27Ta-nK6yJaHi54P4yaBR5V/s1402/FIG-49+fishboat+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNeYCkLz5Yknl8e9AtLY309Mi-WVCJAi5UKAtw9XCD-zuJrCtXC0h3FLrvcZfJ9WT1nuVfpJF099dKs8e2DazlQCX_FXNouZi2vuIJc2DgsXecWBhdkxE_s27Ta-nK6yJaHi54P4yaBR5V/w400-h230/FIG-49+fishboat+retouch.png" width="400" /></a></div><p></p><p><br /></p><p>This is an example of small jet air plane at low level flying in the sky.</p><p> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWNxE3kQP_7dXGt9yYEVUXdFtC_cqgV_aSTx6UZGkmgycbO01g0FrWAW0kd3YUOxsypLTtN-zbWGInNGbVvJ9cSujqryQsFNMK1kIr5mpWyEji0Lg2_rrgsxZaWsFIezct_hy60x7UglB/s1402/FIG-50+jet+long+orig.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWNxE3kQP_7dXGt9yYEVUXdFtC_cqgV_aSTx6UZGkmgycbO01g0FrWAW0kd3YUOxsypLTtN-zbWGInNGbVvJ9cSujqryQsFNMK1kIr5mpWyEji0Lg2_rrgsxZaWsFIezct_hy60x7UglB/w400-h230/FIG-50+jet+long+orig.png" width="400" /></a><span style="text-align: left;"> </span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7aPSE1sQseimz2_fEP6dBrF4811oJRki7dbc-tx7rtZ7me6VOtGd8WpxfFyAmeCWnbj_qzocd-O_oqG7iFL46rVfkLVROpWgTW-iiOEgh1mNGY3hffyHD4EJxc-hpj00tuxfpCUrHKn0w/s1402/FIG-51+jet+long+retouch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7aPSE1sQseimz2_fEP6dBrF4811oJRki7dbc-tx7rtZ7me6VOtGd8WpxfFyAmeCWnbj_qzocd-O_oqG7iFL46rVfkLVROpWgTW-iiOEgh1mNGY3hffyHD4EJxc-hpj00tuxfpCUrHKn0w/w400-h230/FIG-51+jet+long+retouch.png" width="400" /></a></div><p></p><p><br /></p><p><b>2-4 Not rewarded noise</b></p><p>Restoration is not invincible. If the noise is widespread and the level has loud, it is wise to give up. This typical example as it is a full covered of white noise in the spectrum where a large jet is flying over much higher.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQcdSSws6e81gY1jB2_1aWDB8nmuRytUjqVQUozHEfO_9-G0w6odNRjYedt5qJ-cYFg6rfrAo4HHhqnNCwj5PVbfvGSqam1bZUVFGRy_-DLN_4d_yEk2meIDk3u1xhNOv1OuxvVpnTUzwv/s1402/FIG-52+jet+on+orig+retouch+NG.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1402" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQcdSSws6e81gY1jB2_1aWDB8nmuRytUjqVQUozHEfO_9-G0w6odNRjYedt5qJ-cYFg6rfrAo4HHhqnNCwj5PVbfvGSqam1bZUVFGRy_-DLN_4d_yEk2meIDk3u1xhNOv1OuxvVpnTUzwv/w400-h230/FIG-52+jet+on+orig+retouch+NG.png" width="400" /></a></div><br /> <p></p><p><b>At the end</b></p><p>I think that everyone is familiar with the noise repair of musical instruments, the hiss due to the re-release of the precious master of the old days, the dropouts, and the sound sweetening of the location dialogue, etc., I think that you have a great restoration know-how such as sound sources. ...</p><p>Here, I introduced the characteristics of 3-types-specific noise seen in nature sounds with quality oriented to high-resolution and Immersive albums.</p><p><br /></p>Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-67333817724429468342020-10-22T09:17:00.002-04:002020-10-22T09:17:25.443-04:00 Dolby Atmos Music rendering by Pyramix VAD and Ravenna network<p style="text-align: right;">By Mick Sawaguchi UNAMAS Label C.E.O</p><p> </p><p><br /></p><p>Introduction</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE0H-ssJYT4fOkUDSwzj1Cit8f4y6pKDw7gHtOA35RS1LYpSxNSyyvCGVUl5ZsPM8g_9FvnwEt-M80b3LYf1CagioEcYja13SwORYN3d8lUsfL7bW1ZYkXw-wkX_BONZk07bl-vq3F4hBt/s629/20200428+MICK+UP.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="554" data-original-width="629" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE0H-ssJYT4fOkUDSwzj1Cit8f4y6pKDw7gHtOA35RS1LYpSxNSyyvCGVUl5ZsPM8g_9FvnwEt-M80b3LYf1CagioEcYja13SwORYN3d8lUsfL7bW1ZYkXw-wkX_BONZk07bl-vq3F4hBt/s320/20200428+MICK+UP.png" width="320" /></a></div><p>UNAMAS Label, which I run, has been working on music production with 11.1CH Immersive Audio since 2014, and as of 2020, the master of 20 albums has been completed. We have been studying how to reach the end user with the appeal of hemispherical sound field expression, but we have considered the convenience, practicality, and the decoder that is built into the current general AV-AMP by default. I decided to release these masters in Dolby Atmos format as first since Sept 2020.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJKX6oECaSbttkaWB1X0Pb_U07tRV_K0qBjFSNApPRBLBwnED9kiErFtYfa8kjfO9sHLGrK5AknH7mZc0ov5qJXzgQvF8VsipWHkvKPs3ZwfalWs7jYxjUMrexKIbbFvL3R4g5FBXFDsK/s173/UNAHQ+2007.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJKX6oECaSbttkaWB1X0Pb_U07tRV_K0qBjFSNApPRBLBwnED9kiErFtYfa8kjfO9sHLGrK5AknH7mZc0ov5qJXzgQvF8VsipWHkvKPs3ZwfalWs7jYxjUMrexKIbbFvL3R4g5FBXFDsK/s0/UNAHQ+2007.png" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy3DTeumEsbVGrSNDFPJ5VSb6WGTVeVyLoWYEJ8enT83Ug4dRVAinBaffSRmP-_CLeVHw2kCZqwJU4isYxcZgU6czmpCqGV_dUIeD3zFK18Zh7UVq-hCHw8CcIKIniAxuHm-JB2rJFpwck/s175/UNAHQ+2009.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="175" data-original-width="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy3DTeumEsbVGrSNDFPJ5VSb6WGTVeVyLoWYEJ8enT83Ug4dRVAinBaffSRmP-_CLeVHw2kCZqwJU4isYxcZgU6czmpCqGV_dUIeD3zFK18Zh7UVq-hCHw8CcIKIniAxuHm-JB2rJFpwck/s0/UNAHQ+2009.png" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabzweIWiOw0pKCAPU7XBHvNdK-6C9LjjYVyabwn9kKUtN8vinypauW4ZsPltz0SnNiDEJF41BEeNNEBGf0klqxllM6j-cHX20RyKN1ydB8qP2wZlHATlWBNUX16zhkW7T5zwt2tyhMCF0/s173/UNAHQ+2010.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabzweIWiOw0pKCAPU7XBHvNdK-6C9LjjYVyabwn9kKUtN8vinypauW4ZsPltz0SnNiDEJF41BEeNNEBGf0klqxllM6j-cHX20RyKN1ydB8qP2wZlHATlWBNUX16zhkW7T5zwt2tyhMCF0/s0/UNAHQ+2010.png" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8QwEUa9_XEU12N-WZ1QqDUbn5VNhIO04WiY9F1_B0qXsY0gkApLMUDjIowmYJRYlCeXBoYk75FcWlH6NM0cRg4wtei-BcSUOnNjNrME6ObVGvPM3G9c3m5Vh3HnCwOQ3GL2oZMF1GMlET/s173/UNAHQ+2021.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="173" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8QwEUa9_XEU12N-WZ1QqDUbn5VNhIO04WiY9F1_B0qXsY0gkApLMUDjIowmYJRYlCeXBoYk75FcWlH6NM0cRg4wtei-BcSUOnNjNrME6ObVGvPM3G9c3m5Vh3HnCwOQ3GL2oZMF1GMlET/w182-h182/UNAHQ+2021.png" width="182" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLdd6pa-JvpY059jXJGziFoKzXQxXOBsV2T0TK_6Z0oTYJ-bo-G69d84vFv225559cGJ9Dm3uXYj-PcqEKs7uZg6jw0rU2b0-OUl9NV2g7-Y5DozOalG2XMzp9Oqrn1UpOciNbVLgm8Q4p/s186/UNAHQ+4007.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="186" data-original-width="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLdd6pa-JvpY059jXJGziFoKzXQxXOBsV2T0TK_6Z0oTYJ-bo-G69d84vFv225559cGJ9Dm3uXYj-PcqEKs7uZg6jw0rU2b0-OUl9NV2g7-Y5DozOalG2XMzp9Oqrn1UpOciNbVLgm8Q4p/s0/UNAHQ+4007.png" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTQsRWScycBYIrihcR_gNR41zQQYY97Zx2wtpvkiM23hKiC3XYrkm7MFcg9zSJK8KIcJo_fnwG3hmXbm2oLx0y7CjbOtmxrvr75b9EcyDjx-ESrpT8kMc0uBcEprR2_EAd8EcNkminZSAl/s205/UNAHQ+4008.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="205" data-original-width="205" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTQsRWScycBYIrihcR_gNR41zQQYY97Zx2wtpvkiM23hKiC3XYrkm7MFcg9zSJK8KIcJo_fnwG3hmXbm2oLx0y7CjbOtmxrvr75b9EcyDjx-ESrpT8kMc0uBcEprR2_EAd8EcNkminZSAl/w188-h188/UNAHQ+4008.png" width="188" /></a></div><br /><p>My DAW is a Window-based Pyramix, which is not currently Mac-based with the Dolby Atmos renderer running. I have asked that can Merging Technology have a Dolby Atmos production tool that works with Pyramix earlier this year? They answered that we are planning to release software that connects ver13, which will be released after the summer of 2020, and a newly developed Mac device interface called VAD {Virtual Audio Device} via the Ravenna network. Now the beta version is here in TOKYO. "If you want to be the first Victim, you can use it!” So I consulted with Mr. Yanase, arranged the necessary equipment setup and software, and introduced it in August, and from September start to Dolby rendering. Here, we will introduce the actual Dolby Atmos rendering for artists and individuals who want to release Atmos Music within 11.1CH based on Home Studio without the large-scale Atmos renderer such as movies and videos.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WVjNZlYb2t7AsBR22RhpC2rGscrLJUeklcelm8ccx_X1IoDWp6ASd3cKjMG9VqOjBV-f5OKdEOIl3gJEh12r5uSKGqJ9a-FVa4gkY9nTfgDfdJfkrrVqmicZ2vJEsCtj6H-x-GPHMogi/s642/fig-01a+daps+ver+3.4.0.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WVjNZlYb2t7AsBR22RhpC2rGscrLJUeklcelm8ccx_X1IoDWp6ASd3cKjMG9VqOjBV-f5OKdEOIl3gJEh12r5uSKGqJ9a-FVa4gkY9nTfgDfdJfkrrVqmicZ2vJEsCtj6H-x-GPHMogi/s320/fig-01a+daps+ver+3.4.0.png" width="320" /></a></div><p>The operation guide of Dolby Atmos rendering has already been published in various articles, but there is still little information that touches on the actual procedure according to the production flow, so please refer to it</p><p><b><br /></b></p><p><b>1 system configuration</b></p><p>The newly required equipment and connections are as follows.</p><p>● DL from VAD software merging Technology HP</p><p>● Pyramix Ver-13</p><p>● Giga bit router</p><p>● DAPS renderer software VER 3.4.0 to be installed on Mac</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8SdDFxUi3PfCCL2tW91pzeRldfhKscgnL-kDunF93KPP8dS4JI1kd_Syhs1_ygh_iVt9IFcdZv5GwYaHnaWrQpj9EmQo3JmqvT7qCFCRfvHFsAdGcDye-XxfgvuixVUCmgZpVugaSOU7/s2048/fig-01+pyramix+daps+system.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8SdDFxUi3PfCCL2tW91pzeRldfhKscgnL-kDunF93KPP8dS4JI1kd_Syhs1_ygh_iVt9IFcdZv5GwYaHnaWrQpj9EmQo3JmqvT7qCFCRfvHFsAdGcDye-XxfgvuixVUCmgZpVugaSOU7/w640-h640/fig-01+pyramix+daps+system.png" width="640" /></a></div><br /><p></p><p><b>2 Dolby Atmos Production Suite (DAPS) Rendering Procedure</b></p><p>Full-scale movie and video rendering requires a hardware-based rendering unit also very expensive, but if it is a limited rendering such as Atmos Music, you can start with software-based DAPS "Purchase from Avid Hp $300" I will.</p><p>Although the functions are limited, this software will be sufficient if it becomes possible to exchange in the format called ADM-BWAV in the future. -Currently, in order to deliver Atmos to Amazon HD Music, it is necessary to use a different format, and for that purpose, external mastering is required to process another encoder called DDE. ---</p><p><br /></p><p>2-1 Output setting and monitoring from Pyramix</p><p>First, set the DAW side. This is the same as PT etc., and sets the 12CH bus to send to DAPS, the 12CH monitor return bus from DAPS, and the time code for synchronization. Project prepares 11.1CH wav files that have already been mixed in advance with Fs 48KHz-24bit project with Dolby Atmos 7.1.4 configuration.</p><p>● Open the output bus at the bottom right of the Project and connect the out-bus as shown in the figure.</p><p>Fig shows 8 channels of bets channel, and second Fig shows 4 channels of height CH, which corresponds to 4 CH part of object on the DAPS side. For the time code, take out the TC-G OUT in HORUS and set the bus after A / D. In this figure, the TC-OUT set in track-13 is sent by CH24 to DAPAS.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQLj-RzZNf9fmGZoqMK0JXWKr-mYkl0ETdume7D5tXCXa1Wk6rEs0d4-BSOD_A7Gn5WKe9Yd9BNLInbUxsubtI76_z0vSTSDSLFVyXvNUro858lWdpwIQwmjDU0DGjM_6kNS7druqpHHY/s1038/fig-03+Pyramix-DAPS+SEND+BUSS-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="831" data-original-width="1038" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQLj-RzZNf9fmGZoqMK0JXWKr-mYkl0ETdume7D5tXCXa1Wk6rEs0d4-BSOD_A7Gn5WKe9Yd9BNLInbUxsubtI76_z0vSTSDSLFVyXvNUro858lWdpwIQwmjDU0DGjM_6kNS7druqpHHY/w400-h320/fig-03+Pyramix-DAPS+SEND+BUSS-02.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTcFv0siV3tevN3CqlRIKtQ08QWjzFB5xi6Lu3TPwmBmV5fTzw8LcEiei3Aed6Yr9lesW2wsxtLLmAql_lJDX6MB2M_4odb8r0I52XkeMTmFbAVLlS6zHyIRjcT7L3QrA58MwzT_g4tcT/s1055/fig-02+Pyramix-DAPS+SEND+BUSS-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="1055" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTcFv0siV3tevN3CqlRIKtQ08QWjzFB5xi6Lu3TPwmBmV5fTzw8LcEiei3Aed6Yr9lesW2wsxtLLmAql_lJDX6MB2M_4odb8r0I52XkeMTmFbAVLlS6zHyIRjcT7L3QrA58MwzT_g4tcT/w400-h316/fig-02+Pyramix-DAPS+SEND+BUSS-01.png" width="400" /></a></div><p></p><p><br /></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Next, when you open the monitor screen, the Pyramix monitor screen has a <span style="color: red;">Dolby Atmos return switching function,</span> so you can monitor the return from DAPS by clicking this.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIbCri3xAtKMKXmLbFOYLRgouD0C_Xl7-CEB0hDQJ1qOU-NRccVXtyAzbKDZeYZL_gpAZJEKT3RXwvNQsDeEGLWW9hsZSNGxro-Duo131I3TPiAOgRPrWFi_Z9sKgADxp7UWeJ_DlSxyO/s614/fig-04+Atmos+Monitor+on+Pyramix.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="614" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIbCri3xAtKMKXmLbFOYLRgouD0C_Xl7-CEB0hDQJ1qOU-NRccVXtyAzbKDZeYZL_gpAZJEKT3RXwvNQsDeEGLWW9hsZSNGxro-Duo131I3TPiAOgRPrWFi_Z9sKgADxp7UWeJ_DlSxyO/w400-h311/fig-04+Atmos+Monitor+on+Pyramix.png" width="400" /></a></div><p></p><p><br /></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Connect the LAN port of Pyramix HORUS to the Giga Bit router, and the other to the LAN port of Mac mini or Thunderbolt via a conversion cable.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ8MbeyTFvOxjLPILAPDtzDkhu0AzBE7VjPplW0l6wxdI8wTioK56TP6HvrAw075k-YXM6ZwQTtMlhfqM_MgxY3-jQyvu-UQDLDmQzJvfIjSqY5lt3FYOZwS291T__QDp0w7nJQeH-PgPa/s2048/fig-05+GIGABIT+SWjpg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ8MbeyTFvOxjLPILAPDtzDkhu0AzBE7VjPplW0l6wxdI8wTioK56TP6HvrAw075k-YXM6ZwQTtMlhfqM_MgxY3-jQyvu-UQDLDmQzJvfIjSqY5lt3FYOZwS291T__QDp0w7nJQeH-PgPa/s320/fig-05+GIGABIT+SWjpg.jpg" width="320" /></a></div><div><br /></div><br /><p></p><p>2-2 VAD settings in Mac mini</p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Virtual Audio Device software is installed on Mac mini, and <span style="color: red;">the recommended OS is 10.13.6 or higher. </span>Once installed, the icon will appear at the bottom of the <span style="color: red;">Mac System Preferences screen.</span> In the case of Window DAW, AUTO UPDATE and firewall are turned off for stable system operation, but on Mac, these functions are also turned off and Wi-Fi is also turned off when using DAPS. In addition, some function OFF items for stabilization is recommended, so please read the HP of Merging Technology for details.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfES11CMCV9g8Y3A9I_XntBRRciaDyW3qHl5i_XrOY9CBAHwSPNSsiYo9St4-NqmH3iREv2q5BdU1QRO9_k0AB9fhqnH-5JnQxclOAx2rfbRpwwPbrTVnnb_7eTeiDlfLijkU4b-nBqiJq/s669/fig-06+MAC+vad%25E8%25A8%25AD%25E5%25AE%259A.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="669" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfES11CMCV9g8Y3A9I_XntBRRciaDyW3qHl5i_XrOY9CBAHwSPNSsiYo9St4-NqmH3iREv2q5BdU1QRO9_k0AB9fhqnH-5JnQxclOAx2rfbRpwwPbrTVnnb_7eTeiDlfLijkU4b-nBqiJq/s320/fig-06+MAC+vad%25E8%25A8%25AD%25E5%25AE%259A.png" width="320" /></a></div><br /><p></p><p>● When you open this, the IP address is displayed at the top of the figure and the Latency setting is set below it. There is a status check at the bottom of the Fs setting, the number of connected buses, and if the PTP here is not locked, it will not operate stably.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7UzrDJsRIAJW1RcHU0RuvddaP6qF_TdIRHQIMixtaS5HMYFLdbAFXa8Lz9slk69Uc2s30Hkki1alLKT1Jtuf_jmeW2hw0Mf4FcmMIbtSBddppQ8Z2-K7ONX7KfoC2r_b8x29PWPnE6x3/s1590/fig-07+vad+interface.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1590" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7UzrDJsRIAJW1RcHU0RuvddaP6qF_TdIRHQIMixtaS5HMYFLdbAFXa8Lz9slk69Uc2s30Hkki1alLKT1Jtuf_jmeW2hw0Mf4FcmMIbtSBddppQ8Z2-K7ONX7KfoC2r_b8x29PWPnE6x3/w400-h239/fig-07+vad+interface.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Enter the IP address displayed next into the DAW project to recognize</p><p>Each other. Right-click on the DAW PROJECT screen and<span style="color: red;"> click -setting-Atmos connect</span> to display the screen as shown in the figure. Enter the address displayed in VAD in the upper IP address part and click <span style="color: red;">CONNECTS</span> on the right to connect. The status is displayed. <span style="color: red;">This setting is set each time PROJECT changes.</span></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHo6Ii73GywYywdJ9Jw0GT0_UW7ZWvDxtWa-zM8x5Lj0Bh63KcbeCynjFRjVOcEwkgQeGSVSEw7HWhSm_wPW9TmPnfNrHH1zjZIEPgdXdLo4Zv1HyOcu3d36V4I46UPScpKpRWc8or2WP/s777/fig-08+Atmos+connect+IP-Adress.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="441" data-original-width="777" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHo6Ii73GywYywdJ9Jw0GT0_UW7ZWvDxtWa-zM8x5Lj0Bh63KcbeCynjFRjVOcEwkgQeGSVSEw7HWhSm_wPW9TmPnfNrHH1zjZIEPgdXdLo4Zv1HyOcu3d36V4I46UPScpKpRWc8or2WP/s320/fig-08+Atmos+connect+IP-Adress.png" width="320" /></a></div><br /><p></p><p>Now that Pyramix-Horus-Mac is connected, it's time to set the rendering settings with DAPS.</p><p><br /></p><p>2-3 DAPS encoding initial setting</p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>When you open DAPS and first open <span style="color: red;">Dolby Atmos Renderer-preference</span> at the top of the screen, 7 items of various setting menus will appear.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSHBi_HcdixYna47FIvrgTHhZMiiGi-zBbMc3y9Qe_jVAWut4p71EzHoJyKX-uDqYRvwcSYUt_Xinp_YcCyIUUE2u2nItJ3WnPjszhcVH5-OE73vTl4ViMGZhc-D8-_G8ZFqMLDt7MCTu/s515/fig-09+PREFERENCE%25E7%2594%25BB%25E9%259D%25A2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="217" data-original-width="515" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSHBi_HcdixYna47FIvrgTHhZMiiGi-zBbMc3y9Qe_jVAWut4p71EzHoJyKX-uDqYRvwcSYUt_Xinp_YcCyIUUE2u2nItJ3WnPjszhcVH5-OE73vTl4ViMGZhc-D8-_G8ZFqMLDt7MCTu/w400-h169/fig-09+PREFERENCE%25E7%2594%25BB%25E9%259D%25A2.png" width="400" /></a></div><br /><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Driver settings</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPVz8WoBRq3_hq8lXI3Si-ikIMAvOEI3rSQzv_LWsUhokpNtPfmsrWfM1LF6v9tS4KU5C6MlVPSpFMaE9RgZuddNqrAS9rExn4EsK1GNunFZ7MZofRUsng9r6Wnyo9UNQvu8mQj_NWl8t/s807/fig-10+driver+set+up+by+ravenna.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="807" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPVz8WoBRq3_hq8lXI3Si-ikIMAvOEI3rSQzv_LWsUhokpNtPfmsrWfM1LF6v9tS4KU5C6MlVPSpFMaE9RgZuddNqrAS9rExn4EsK1GNunFZ7MZofRUsng9r6Wnyo9UNQvu8mQj_NWl8t/w400-h290/fig-10+driver+set+up+by+ravenna.png" width="400" /></a></div><p></p><p>Here, as shown in the figure, <span style="color: red;">set from RAVENNA, TC signal connection CH setting, frame rate setting</span>, SF setting, etc.</p><p><br /></p><p>● Speaker settings</p><p>Here, Base Management is turned on off. In Atmos Music, if you do not set all the channels to flat, all the low frequencies will be sent to the LFE and the sound will be squishy, so <span style="color: red;">turn off the HPF</span> setting at the bottom as shown in the figure.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2Jnzhx7kDtIMXenCtsy_uKYsaDpvAiCJaQ4h7vaFOf5JAZAn5upVhI3Orb_xbk3V9kaigB9GnFOemr3Z_VSVQeDS6Vy7Z4_vvaXyFYN3uWhmO_WnKpgZBcNYVW9g-VrsEirJraG2JLoc/s801/fig-11+base+manage-on-off.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="801" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2Jnzhx7kDtIMXenCtsy_uKYsaDpvAiCJaQ4h7vaFOf5JAZAn5upVhI3Orb_xbk3V9kaigB9GnFOemr3Z_VSVQeDS6Vy7Z4_vvaXyFYN3uWhmO_WnKpgZBcNYVW9g-VrsEirJraG2JLoc/w400-h291/fig-11+base+manage-on-off.png" width="400" /></a></div><br /><p></p><p>● Loudness display</p><p><span style="color: red;">Loudness check and TP check</span> are indispensable for rendering to work well, and the display shows Loudness when D-MIX is done to 5.1CH regardless of the number of channels.</p><p>If the sound of Project is larger than the target value, adjust the level on the sending side. Each company has its own guidelines such as Netflix and Amazon Tidal, so you must comply with them.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJcXFHXiOFkqIxSvKFczqNJQRCEq3aOxPWqiezvw_CmgeNbvuBigVN0rpMQqvp64Jg1nP_7v6xLNH9xeEndF-1GyIGAZ0nSeEcFcn1WmAAhfDgahQ7KV4yx9_Z3xLSEVcp6twfGjmtNVE/s290/fig-12-a+loudness+metering.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="290" data-original-width="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJcXFHXiOFkqIxSvKFczqNJQRCEq3aOxPWqiezvw_CmgeNbvuBigVN0rpMQqvp64Jg1nP_7v6xLNH9xeEndF-1GyIGAZ0nSeEcFcn1WmAAhfDgahQ7KV4yx9_Z3xLSEVcp6twfGjmtNVE/s0/fig-12-a+loudness+metering.png" /></a></div><p><br /></p>Rest bottom enable to reset loudness value when you change file<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif1ol8bZGxAyS6dISJ0Ri8hNZECcYcot8AFH-_Yp7lOmsLMqm6u7cVLVy1pZfg81xjuv3dH8uZFxF6fZotn8MKbtQrNG5LYmmfBjGgIkQgzEC-ZpniyNio-hQXTnHnSGGr4zgvEjqCx_4m/s333/fig-12+loudness+reset.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="243" data-original-width="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif1ol8bZGxAyS6dISJ0Ri8hNZECcYcot8AFH-_Yp7lOmsLMqm6u7cVLVy1pZfg81xjuv3dH8uZFxF6fZotn8MKbtQrNG5LYmmfBjGgIkQgzEC-ZpniyNio-hQXTnHnSGGr4zgvEjqCx_4m/s320/fig-12+loudness+reset.png" width="320" /></a></div><br /><p></p><p>● Headphone settings</p><p>This is the setting when the monitor is done with headphones, but my Mac mini is not set to reduce the load because the power is insufficient in the 2014 model.Since the monitor is also SP, there is no need.</p><p><br /></p><p>● Network info</p><p>You can check the IP address of the connected network here.</p><p><br /></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>Make 7.1 + 4 render settings in the <span style="color: red;">WINDOW menu</span></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2i8dN0n8xMII_fq5mShUwcqPxBBXI4Np6wH2O1kwcb6L3gxrmnA-zK7yCjjrYaEQEv-HOXLmXrecLyWrErFvqJ7u8c38Xv96KVhuU8JoBKi0q9aPGe4Jx3NDOX3-2CSI6rleNKZfCXXVF/s1354/fig-13+WINDOW%25E5%2586%2585%25E8%25A8%25AD%25E5%25AE%259A%25E7%2594%25BB%25E9%259D%25A2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="1354" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2i8dN0n8xMII_fq5mShUwcqPxBBXI4Np6wH2O1kwcb6L3gxrmnA-zK7yCjjrYaEQEv-HOXLmXrecLyWrErFvqJ7u8c38Xv96KVhuU8JoBKi0q9aPGe4Jx3NDOX3-2CSI6rleNKZfCXXVF/w640-h126/fig-13+WINDOW%25E5%2586%2585%25E8%25A8%25AD%25E5%25AE%259A%25E7%2594%25BB%25E9%259D%25A2.png" width="640" /></a></div><br /><p></p><p>When you open WINDOW on the DAPS top menu screen, there are menus such as<span style="color: red;"> setting the CH format you want to render, monitor layout called INPUT CONFIG and ROOM SET UP, and generating noise signals for calibration called SPEAKER CALIB.</span></p><p><br /></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>First, 8CH of 7.1CH is allocated to <span style="color: red;">BETS 1-8, and 4CH of height is allocated from 11 or later of OBJECT. </span>BETS has 1-10, but height 2CH Please do not assign CH-09-10. "If you assign it here, this assigned 2CH will be automatically assigned to the height Ls-Rs too."</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_OQuDQlRURJqvpRlmRVJ14Teh1L8UzaFumsOt2k4vJiYqXTrglLyxHGvBC63jOucpMKyFQK9kx7cb0aZoJxDTqFj-YrpruXKRATpVV4T-MEF4u_hbwJx1smvxO684vbDrIxkpLH6DrmAb/s904/fig-14+input+config+7.1.4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="904" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_OQuDQlRURJqvpRlmRVJ14Teh1L8UzaFumsOt2k4vJiYqXTrglLyxHGvBC63jOucpMKyFQK9kx7cb0aZoJxDTqFj-YrpruXKRATpVV4T-MEF4u_hbwJx1smvxO684vbDrIxkpLH6DrmAb/s320/fig-14+input+config+7.1.4.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-JIChMFQrAOGlb6OfQvFpx4vbG3ziFbI6BqapqaBPygElWTtqX9xFnKdKc2O0piKPTgfWOtlsVRszUA0JEeoRFaSqc-JdFlrOVP4zConMFbeA1zOEahdEAhCz2BBReJaHY9cALhyphenhyphenLb5d/s359/fig-15+%25EF%25BC%2597.%25EF%25BC%2591%25EF%25BC%258B%25EF%25BC%2594%25E8%25A8%25AD%25E5%25AE%259A.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="138" data-original-width="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-JIChMFQrAOGlb6OfQvFpx4vbG3ziFbI6BqapqaBPygElWTtqX9xFnKdKc2O0piKPTgfWOtlsVRszUA0JEeoRFaSqc-JdFlrOVP4zConMFbeA1zOEahdEAhCz2BBReJaHY9cALhyphenhyphenLb5d/s320/fig-15+%25EF%25BC%2597.%25EF%25BC%2591%25EF%25BC%258B%25EF%25BC%2594%25E8%25A8%25AD%25E5%25AE%259A.png" width="320" /></a></div><br /><p>After the 11.1CH setting is completed, open ROOM SET UP in the WINDOW menu and the 11.1CH SP configuration will appear.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4cbKd5MtOtq6g7XAHipWhG26PX4qJYok075T5DnMBJE4nT055zvxvoiUmGj764wFXFrs3J87tmcBfZb8se3HRP8qLAssj2Ic_en64fsF7YtDUTomW_YpZ6KByCMJRqY-V74vtq63GjT2/s812/fig-16+DAPAS+11.1ch+monitor+config.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="812" data-original-width="794" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4cbKd5MtOtq6g7XAHipWhG26PX4qJYok075T5DnMBJE4nT055zvxvoiUmGj764wFXFrs3J87tmcBfZb8se3HRP8qLAssj2Ic_en64fsF7YtDUTomW_YpZ6KByCMJRqY-V74vtq63GjT2/s320/fig-16+DAPAS+11.1ch+monitor+config.png" /></a></div><br /><p><br /></p><p>If you want to check if the bus connection is correct, you can open the SPEAKER CALIB screen in WINDOW and check if the corresponding channel is connected to the correct monitor SP with the signal source.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZM2S9JSC523rmGZopSBIuYAHwBURhCL1kcDkHjAMA0QT8MfiCkdjWLOHzC-blCyK781HHg0TkeTqmMQabmn4epwsTFNvuQpNhXytBF0xPZrc_WjlQD-T7a7EASvFRpxLb2coL4MNCYVOo/s1394/fig-17+monitor+sp+calb-test.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="1394" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZM2S9JSC523rmGZopSBIuYAHwBURhCL1kcDkHjAMA0QT8MfiCkdjWLOHzC-blCyK781HHg0TkeTqmMQabmn4epwsTFNvuQpNhXytBF0xPZrc_WjlQD-T7a7EASvFRpxLb2coL4MNCYVOo/w400-h234/fig-17+monitor+sp+calb-test.png" width="400" /></a></div><br /><p><br /></p><p>Ready full screen</p><p><br /></p><p>This is the whole screen when the preparation is set correctly.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DKC7iVxu8XLRzRK3GuS_fLcs4oyN_glNXslJADrPsvdZfhzj2iO1JsEKJgnWxi7XhczXxo3Eg_XtGyTF72Og05bVZXnpx8CmbCMMVC2abaYWd996OldEgPCFFEjFEmkM8EBfVH1RHy1h/s1360/fig-18+render+%25E6%25BA%2596%25E5%2582%2599.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="946" data-original-width="1360" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DKC7iVxu8XLRzRK3GuS_fLcs4oyN_glNXslJADrPsvdZfhzj2iO1JsEKJgnWxi7XhczXxo3Eg_XtGyTF72Og05bVZXnpx8CmbCMMVC2abaYWd996OldEgPCFFEjFEmkM8EBfVH1RHy1h/w640-h446/fig-18+render+%25E6%25BA%2596%25E5%2582%2599.png" width="640" /></a></div><p>From the left</p><p>● <span style="color: red;">MONITORING-7.1.4 or Physical</span> settings.</p><p>● <span style="color: red;">SF 48</span> setting confirmation</p><p>● To the <span style="color: red;">SOURCE INPUT</span> side</p><p>● The round mark on the right is TC synchronization, and when <span style="color: red;">this is turned ON,</span> the input TC from PROJECT—</p><p>You can read the frame rate.</p><p>● Tilt <span style="color: red;">RECORD IN-OUT.SW down to turn it on</span> and enter the start and end TC of the clip you want to render in the right window. The display is basically blue lighting is ON.</p><p>● Now, if you play PROJECT and the meter swings by 11.1CH, each channel lights up according to the signal even if the speaker is arranged, and the Loudness meter is also displayed, it is OK.</p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>There is a <span style="color: red;">square box at the bottom right</span>, click here to select whether it is a movie monitor or a home theater monitor, this time it is Atmos Music, so I set displays view-person show-object No as shown below You can also check the connection the height CH is displayed in the monitor environment you are using.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5cUY7l_Pm9FNl3sH4kOl_-0lz_lHZLM1-RBz0hAQli2JvNlFiPzpLU-6KhVWnIC3dUW2Y6p4X50eJ6BQw7GNb6Q81zbfhoerJSLaeKIVc2XvG6QuhOj8xwDciy8-cbVyIYnoQVmerodr/s1365/fig-19+view%25E7%2594%25BB%25E9%259D%25A2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="1365" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5cUY7l_Pm9FNl3sH4kOl_-0lz_lHZLM1-RBz0hAQli2JvNlFiPzpLU-6KhVWnIC3dUW2Y6p4X50eJ6BQw7GNb6Q81zbfhoerJSLaeKIVc2XvG6QuhOj8xwDciy8-cbVyIYnoQVmerodr/w640-h444/fig-19+view%25E7%2594%25BB%25E9%259D%25A2.png" width="640" /></a></div><br /><p><br /></p><p>2-4 Rendering executions</p><p><br /></p><p>Rendering has finally started.</p><p><br /></p><p>● If you create a folder with an album title etc. In the HD or folder to save, open with <span style="color: red;">File-New Master File and create a subfolder </span>M-01 etc. with CREAT, the save destination will be decided.</p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span><span style="color: red;">Press the REC button </span>to flash and enter standby mode.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Cu1jTBj4Ik_4Zps671Y6k5ShCRd8UNfAhbwzjhdmhKmWlDKJcZ93vAUTqKcyNiOCpXYZded-Ha6e0XeKyPx08LLZ5VxxlMspRrSUIsLQdKGXsQgHNq-Zn8phMD4033DiJMPu5clnTqwa/s835/fig-20+NEW+MASTER+FILE.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="205" data-original-width="835" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Cu1jTBj4Ik_4Zps671Y6k5ShCRd8UNfAhbwzjhdmhKmWlDKJcZ93vAUTqKcyNiOCpXYZded-Ha6e0XeKyPx08LLZ5VxxlMspRrSUIsLQdKGXsQgHNq-Zn8phMD4033DiJMPu5clnTqwa/w640-h158/fig-20+NEW+MASTER+FILE.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVaTyW8w1dkMGSKeCw0ZuXCpcKq2s6TnArE33_dHBAKJQCYG9_abBhjRljDUneWZ1se1eXOSo4KmnMY_n9FSZoj4g6f1aEWv2HD_aAauX4d-6R1yoMRFdVys7aYN2RXN3MSvJ-Zi8Yuc3/s1364/fig-21+render+rec+mode.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="223" data-original-width="1364" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVaTyW8w1dkMGSKeCw0ZuXCpcKq2s6TnArE33_dHBAKJQCYG9_abBhjRljDUneWZ1se1eXOSo4KmnMY_n9FSZoj4g6f1aEWv2HD_aAauX4d-6R1yoMRFdVys7aYN2RXN3MSvJ-Zi8Yuc3/w640-h104/fig-21+render+rec+mode.png" width="640" /></a></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span>If you<span style="color: red;"> pre-roll the TC shortly before recording</span>, the record button will light up at IN-POINT and rendering will start, and the recording will stop at the TC-OUT point.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMA3XmuNGjIukBREnfrVUtI1QVJgSTVqSQ7KtZuy2QkOpPjZC82NIWDhiAnJ4IrAssHb3PtfQ3CfjkwVUYmWJIzbgQPmvLWCGU2hbHpDz9KKiQviVF0XWW4n431p_jBnbpTEcfclTPx0xE/s1360/fig-22+render+recmode.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="947" data-original-width="1360" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMA3XmuNGjIukBREnfrVUtI1QVJgSTVqSQ7KtZuy2QkOpPjZC82NIWDhiAnJ4IrAssHb3PtfQ3CfjkwVUYmWJIzbgQPmvLWCGU2hbHpDz9KKiQviVF0XWW4n431p_jBnbpTEcfclTPx0xE/w640-h446/fig-22+render+recmode.png" width="640" /></a></div><br /> 2-5 Playback check of encoded file<p></p><p><br /></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span><span style="color: red;">File-Open Master File</span> to open the appropriate folder.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcPK3LcjW8PoR8j_vD3CtcPU4TEAcNFlf2zEBW40Y2gaMJ0AI1xUynDY_R-_4Cs8cz_8WaZteP9wb6INrSn_oAbebWr2sGK3JzCYBiXK6zi3Anl9D3iYmcngc2L08td1FRFQ0XsqOLyQfC/s848/fig-23+OPEN+MASTERFILE.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="848" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcPK3LcjW8PoR8j_vD3CtcPU4TEAcNFlf2zEBW40Y2gaMJ0AI1xUynDY_R-_4Cs8cz_8WaZteP9wb6INrSn_oAbebWr2sGK3JzCYBiXK6zi3Anl9D3iYmcngc2L08td1FRFQ0XsqOLyQfC/w640-h164/fig-23+OPEN+MASTERFILE.png" width="640" /></a></div><br /><p></p><p>●<span class="Apple-tab-span" style="white-space: pre;"> </span><span style="color: red;">There are 4 data in the completed file</span>. Depending on the time and capacity, 4 may not be displayed until a little time has passed, so that! Is it a failure? Don't think!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHMuAGCK09ZiEGVp3XBrRu-R0_HoRt3xeqNU-SKnSXfH0zP7w7zxih-j7F83ehW3SVGjGYx-xglI5JwM7u7A_chMA7-z49ijQHbyktuFD_SMIcA5Z9pTGmRjMgjISM-AuOtg9kAVuyZGU/s798/fig-24+master+file+.atmos+4+folders.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="798" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHMuAGCK09ZiEGVp3XBrRu-R0_HoRt3xeqNU-SKnSXfH0zP7w7zxih-j7F83ehW3SVGjGYx-xglI5JwM7u7A_chMA7-z49ijQHbyktuFD_SMIcA5Z9pTGmRjMgjISM-AuOtg9kAVuyZGU/w400-h228/fig-24+master+file+.atmos+4+folders.png" width="400" /></a></div><br /><p>● When you click the folder called<span style="color: red;"> .Atmos </span>to open it, the screen switches from input to master, and the folder name and TC in-out time appear in the TC display on the upper right.</p><p>● <span style="color: red;">During playback, OFF the TC sync button</span> and use the play button to play.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8JTOOZb3GdfLjfJhRbn-2jGsRgtaXFaI1UcuO3raoRrUk0L3YW3y7n6X1V9idj9IAMeYw3L6RIYp86-NA52Yy7eAsAppzytQjK4gE2vVA3dJItIxhhHaM1ATEt3F8ieBb3Y4Cg8iuYOx/s1362/fig-25+master+audition.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="187" data-original-width="1362" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8JTOOZb3GdfLjfJhRbn-2jGsRgtaXFaI1UcuO3raoRrUk0L3YW3y7n6X1V9idj9IAMeYw3L6RIYp86-NA52Yy7eAsAppzytQjK4gE2vVA3dJItIxhhHaM1ATEt3F8ieBb3Y4Cg8iuYOx/w640-h88/fig-25+master+audition.png" width="640" /></a></div><br /><p></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5vrp_fQCegKnZBe9F1sU0cGdwK6z-xAB3oqhruEFeTf3u12LwdzPR-uGGK_qMADVjc0aFnmK0YsLpJOS2vtEeO70IUo2_R-rFU1vRSoKoKfxRFFZdobGqtEwpF-CE4lERfzlEQmf4ngI/s846/fig-26+export+audio.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="846" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5vrp_fQCegKnZBe9F1sU0cGdwK6z-xAB3oqhruEFeTf3u12LwdzPR-uGGK_qMADVjc0aFnmK0YsLpJOS2vtEeO70IUo2_R-rFU1vRSoKoKfxRFFZdobGqtEwpF-CE4lERfzlEQmf4ngI/w640-h166/fig-26+export+audio.png" width="640" /></a></div><br /><p></p><p>All you have to do is render everything by repeating this process and you're done.</p><p> <b>3 Delivery format</b></p><p><br /></p><p>3-1 Dolby Atmos files on BD-A discs</p><p>BD-A can be recorded in lossless True HD. For this reason, we select <span style="color: red;">File-Export audio from .atmos and deliver it in ADM BWF format to the authoring studio.</span></p><p><br /></p><p>3-2 For Amazon HD Atmos Music</p><p>It seems that major labels UMG and WMG can equip their own renderers and deliver formats according to the media, but at present <span style="color: red;">Amazon does not have such a renderer independently,</span> so boutique labels and individual artists want to distribute it on Amazon. In order to prevent sound interruption from traffic congestion, we <span style="color: red;">have to prepare files with three different transfer rates,</span> and unfortunately DAPS does not have this function, so it is costly to ask external mastering studio or post house just for this. </p><p><br /></p><p>Personally, I have a strong desire to do one-stop production, so it is indispensable for the spread of Atmos Music to deliver by ADM BWAV or to support with software even if the cost is a little high such as DAPS ADVANCE.</p><p><br /></p><p><b>At the end-the first Victim!</b></p><p><br /></p><p>This was the first connection for both the merging side and Dolby side of Window-Mac, so I would like to thank DSP-J Yanase and Dolby Japan Nakayama for their support. In particular, Mr. Nakayama provided one-on-one intensive training for one day.</p><p><br /></p><p>First, the barrier was the <span style="color: red;">setting of latency for 3 devices</span>. First of all, the phenomenon that the VAD lock is not stable appeared. The cause is that the latency setting in each device was not unified based on the 48khz standard, and finally it was stable with the 4msec setting.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikAHuHaV7Ajg72Q9vMpDoDFQQL4U974YA65kQcSAl2lgkUyXYstnA13MccFBnWgHvhpwgiWmg870jf8V5CLNVpXIroGQ53hqT3nUIBwDwGuHxvqrRHprcQE0_G8cmYo-YKShNjiExh4Gs/s667/fig-27+latency%25E8%25A8%25AD%25E5%25AE%259A.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="201" data-original-width="667" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikAHuHaV7Ajg72Q9vMpDoDFQQL4U974YA65kQcSAl2lgkUyXYstnA13MccFBnWgHvhpwgiWmg870jf8V5CLNVpXIroGQ53hqT3nUIBwDwGuHxvqrRHprcQE0_G8cmYo-YKShNjiExh4Gs/w400-h120/fig-27+latency%25E8%25A8%25AD%25E5%25AE%259A.png" width="400" /></a></div><br /><p></p><p><br /></p><p>The other is because my Mac mini is a 2014 model, so it's because of lack of power, 30F</p><p>When TC synchronization is applied, noise and rendering stop in the middle.</p><p>After receiving advice on how to lower the TC rate, it became stable at 24F and the CPU power dropped from 40% to 20%, and it moved smoothly.</p><p><br /></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3JHAQgMbaFTS8TXlZV6_zS_1PGg7smeM8Trp79KjD1JL72oZLjFb-3qia8xBRG96hgQ6X_iuLHYECykf106MbssrQpDsjn2pQRA7cnJh-nxtG_pPmsUnQxSUHRmiaMKRL9d_5nZ5et7OE/s1364/fig-28+tc+24+f+cpu+20%2525.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="948" data-original-width="1364" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3JHAQgMbaFTS8TXlZV6_zS_1PGg7smeM8Trp79KjD1JL72oZLjFb-3qia8xBRG96hgQ6X_iuLHYECykf106MbssrQpDsjn2pQRA7cnJh-nxtG_pPmsUnQxSUHRmiaMKRL9d_5nZ5et7OE/w400-h278/fig-28+tc+24+f+cpu+20%2525.png" width="400" /></a></p><p>Since there is no video, this is OK for the time being.</p><p>After solving the problem, <span style="color: red;">save the log file</span> and send it to the manufacturer. It is located in the open log folder in the <span style="color: red;">Help menu </span>on the right side of the screen.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZJC1PwP4yR7lm4o3AKD40RPz5WjfeQH42PjtDwtYGkxrKxDfCNTZCV45wdVwfKcAUFfUCFb9mgI56V2qPg_XjRVeo3D-e4E1Vrs8ogbVjVVlYbRdHU4LR5FKPja5AxE4p0DFt3JG_YceS/s825/fig-29+Log+file.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="196" data-original-width="825" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZJC1PwP4yR7lm4o3AKD40RPz5WjfeQH42PjtDwtYGkxrKxDfCNTZCV45wdVwfKcAUFfUCFb9mgI56V2qPg_XjRVeo3D-e4E1Vrs8ogbVjVVlYbRdHU4LR5FKPja5AxE4p0DFt3JG_YceS/w640-h152/fig-29+Log+file.png" width="640" /></a></div><br /><p></p><p> Currently, it is streaming distribution, but I would like to <span style="color: red;">expect efforts to download it including lossless format </span> and enjoy it with A-V receivers in the future.</p><p>[ END ]</p><div><br /></div>Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-24625206656594392342020-09-22T06:01:00.006-04:002020-09-22T06:01:29.038-04:00 Jazz album5.1CH Surround production and Survey of POP Music Surround Mix Techniques<p style="text-align: center;"><span style="text-align: right;">By Mick Sawaguchi C.E.O UNAMAS Label</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcy1pLnI_DsVh7gAAGyJYE0vAUNsx-dpG1_XfmkmR7JRVWUz1WG1EB7aQkZrISbc5Xkz3oqcUwrewivAG3xrvL91FJS-vCyKAKYFUpb3u-azU7FDgYQxC2rGGB9SupeJlqXd1dCNIRo6tw/s2048/FIG-01+circle+round+jk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcy1pLnI_DsVh7gAAGyJYE0vAUNsx-dpG1_XfmkmR7JRVWUz1WG1EB7aQkZrISbc5Xkz3oqcUwrewivAG3xrvL91FJS-vCyKAKYFUpb3u-azU7FDgYQxC2rGGB9SupeJlqXd1dCNIRo6tw/s320/FIG-01+circle+round+jk.jpg" /></a></div><p><br /></p><p>Introduction</p><p>Since Jazz music has been conceived as an image of condensed near field close up sound by the 1950-60s Jazz labels, it is difficult to find the next sound image from the monaural or stereo sound field. For band formation, UNAMAS have consistently continued to produce 2CH due to keep up a condensed sound. There are Jazz surround albums such as SA-CD, but it is different from the perspective that I imagined, and I have been considering how to achieve both a condensed feeling and an open surround sound field.</p><p>The UNAHQ 1023 Circle Round Tomonao Hara Group's third album, 5.1CH production that both artists and producers are satisfied with, has been realized.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheI5vSIT3VBbbZJq5Pe8C1V5dKVY8LOG0wRMbpAxwARjeGxkB1hc3zEHffQBUxBLL0z_Jeu3cNlBNrY_49flazXU7lHrdnm6memQuIfO13BSzRQNuUyXJX8YGl2ujm-wdSS_Jsoo_nybXj/s1280/FIG-02+gs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheI5vSIT3VBbbZJq5Pe8C1V5dKVY8LOG0wRMbpAxwARjeGxkB1hc3zEHffQBUxBLL0z_Jeu3cNlBNrY_49flazXU7lHrdnm6memQuIfO13BSzRQNuUyXJX8YGl2ujm-wdSS_Jsoo_nybXj/s320/FIG-02+gs.jpg" width="320" /></a></div><br /> In addition, as a reference material, I will introduce 5.1CH MIX examples of the Jazz and Pops genre that I have analyzed on DVD-A and SA-CD.<p></p><p><br /></p><p>1. Surround image and preparation for this album production</p><p>Tomonao Hara group consists of a Sextet called Tp. Sax. Apf. Gt. Cb. Drums with the participation of Apf Key from the previous work. I thought that this organization could be arranged well in the space, so I worked on the experiment mix using the sound source of the previous work "Time in Delight". I tried to mix the rough image assuming the following localization.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0yx4ruICJz3Jgxa7XH6MeW3ULeaiyLEd3CcqFDwAd0mINSMhgQbY5oDZUMji4AO5MLp5OjMnAsiNK-Mt9fsJkHm-H5jItzDRC0Gds4KtfBxnalnLQtUE_4AZZcnSc4l-0cnYXUFo9dwE/s720/FIG-03+testmix.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0yx4ruICJz3Jgxa7XH6MeW3ULeaiyLEd3CcqFDwAd0mINSMhgQbY5oDZUMji4AO5MLp5OjMnAsiNK-Mt9fsJkHm-H5jItzDRC0Gds4KtfBxnalnLQtUE_4AZZcnSc4l-0cnYXUFo9dwE/w400-h300/FIG-03+testmix.png" width="400" /></a></div><br /><p></p><p>This is an image in which the normal 2CH MIX localization is changed to el-Gt rear. The brass section at the front, Cbs, Kick, and SN, has moved from the existing phantom center to the hard center. However, as a result of experiments, if such an instrument is localized to a monaural hard center, the balance will not be achieved unless the overall level is significantly lowered compared to 2CH MIX, and as a result the power and condensing feeling of Jazz will be impaired. As I will explain later, in overseas pops albums, most of the instruments have the same localization as the 2CH MIX, such as the phantom center is main localized, and the hard center is overflowing with Vox and Bs- Kick- SN. I think so. Therefore, we examined how to properly use the front L-C-R to maintain a clear hard center and overall level. Below are the localizations for each instrument and actual miking.</p><p>1-1 Tp. SAX</p><p>In the sound design of cinema sound, three types are used properly when expressing the center component.</p><p>◉ Hard Center only</p><p>◉ Hard center 70%, L-R divergence component 30%</p><p>◉ the hard center is 30% and the L-R divergence component is 70%</p><p>I decided to adopt the second method this time to maintain the power with clear hard center localization. Therefore, for Tp. Sax, I decided to emphasize the hard center by using two miking each, a condenser type and a ribbon type. In addition, Ls-Rs set up an Omni-mic pair in the studio instead of adding artificial reverb to capture the actual sound.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4lp8fGqTcHOWKhvqQ2XU33qHlFdrCmDRhWe2HBvCi13jdYeOmjlr2ndjuWehf37QSjvWU0zVhc2cYmdg2odaRw7UV_Xj_w0xLD53lb_kO2KErbev2jaVNHWJjyB5r8XIcgSc_5QPxQpQ/s720/FIG-04+brass-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4lp8fGqTcHOWKhvqQ2XU33qHlFdrCmDRhWe2HBvCi13jdYeOmjlr2ndjuWehf37QSjvWU0zVhc2cYmdg2odaRw7UV_Xj_w0xLD53lb_kO2KErbev2jaVNHWJjyB5r8XIcgSc_5QPxQpQ/w400-h300/FIG-04+brass-01.png" width="400" /></a></div><br /><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcbGUlAzXNONN1qzeiOy3q9Pmj2sf_utg-miaNyvzJqQCfsJ4LQiMC2fubn8VoMV14zNeGcoJRuuzDQahp-PSLsRNr3etRCsX_0XngpVofEHahCnXCriOZ-XYHE2eqDoRzJTfejQ9NZsG/s2048/FIG-05+brass+ambi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcbGUlAzXNONN1qzeiOy3q9Pmj2sf_utg-miaNyvzJqQCfsJ4LQiMC2fubn8VoMV14zNeGcoJRuuzDQahp-PSLsRNr3etRCsX_0XngpVofEHahCnXCriOZ-XYHE2eqDoRzJTfejQ9NZsG/w400-h268/FIG-05+brass+ambi.jpg" width="400" /></a></div><br /> 1-2 Cbs<p></p><p>Cbs decided to use L-C-R evenly in order to achieve a rhythm keep comparable to the brass section as a result of the experiment.</p><p>Therefore, miking has three microphones and the following localizations are used. In order not to mask the hard center of the brass section, the mic of the hard center is rich in low frequency compared to the L-R.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4vpL5_WbZLhW6Y7SEbcC4Z_g58N2s-lJsxAZ6oRIsOSVBy3oSCpNqOqhBYPArVXcQj3gcGYLXwcDsSNjkyPmGirHToq6YaNAhKmJuLgMKkS44j1255kW1XidVbdcQh392zs9t_RssKY3/s720/FIG-06+Cbs.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4vpL5_WbZLhW6Y7SEbcC4Z_g58N2s-lJsxAZ6oRIsOSVBy3oSCpNqOqhBYPArVXcQj3gcGYLXwcDsSNjkyPmGirHToq6YaNAhKmJuLgMKkS44j1255kW1XidVbdcQh392zs9t_RssKY3/w400-h300/FIG-06+Cbs.png" width="400" /></a></div><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUGZ_oH3JOMnxm7fjCIooiUqTw8ZpcWaeEmloIkelwPPvDqUDe8zAwv7wN8NUZFjAeHlC-zyzegPfjRvzGx5mJpZceQ0DE4ty2y3wcsBZr7eR7QWOS32XK-5yxizFLJuQoNOT8Rmdyg0e/s2048/FIG-07+cb+miking+UM-921S++V13.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUGZ_oH3JOMnxm7fjCIooiUqTw8ZpcWaeEmloIkelwPPvDqUDe8zAwv7wN8NUZFjAeHlC-zyzegPfjRvzGx5mJpZceQ0DE4ty2y3wcsBZr7eR7QWOS32XK-5yxizFLJuQoNOT8Rmdyg0e/w400-h268/FIG-07+cb+miking+UM-921S++V13.jpg" width="400" /></a></p><p>1-3 Drums</p><p>Most of the drums were L-R phantom localization, and only one of the two Kick drums was localized to the hard center.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJTHsQuYFvMUdPSB0Urd5W0mWfLta6p4neV7BIfzofSi1xwVOMauSJjQMDy0LsySvDrgE691H-GnlTmwxnBQtLD84BT8uSDphj43xs2qKdp-vOwYv9e3Tz4RLggJAz5gs1Ac8G4E9zJDH/s720/FIG-08+drums.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJTHsQuYFvMUdPSB0Urd5W0mWfLta6p4neV7BIfzofSi1xwVOMauSJjQMDy0LsySvDrgE691H-GnlTmwxnBQtLD84BT8uSDphj43xs2qKdp-vOwYv9e3Tz4RLggJAz5gs1Ac8G4E9zJDH/w400-h300/FIG-08+drums.png" width="400" /></a></div><br /> 1-4 Apf. Key<p></p><p>Apf combine to uses L-R phantom localization and the Omni-mic pair installed in the studio to Ls-Rs. The el-Apf is lineout 2CH only, so L-R phantom and 4CH reverb is added to it.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxNLnbQFRWggc9oXdTVIDm96Ti2J4x5Zjj77g1aOzH4nzSnpvjWWGpgOtkIhrMRXNNqEbf_lUsjQ_oikk5r-HQQg0rdstOolDQ-44HuT7EsdXsram497rL23xN5MBGzKclPizob6r6A8C/s720/FIG-09+apf.key.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxNLnbQFRWggc9oXdTVIDm96Ti2J4x5Zjj77g1aOzH4nzSnpvjWWGpgOtkIhrMRXNNqEbf_lUsjQ_oikk5r-HQQg0rdstOolDQ-44HuT7EsdXsram497rL23xN5MBGzKclPizob6r6A8C/w400-h300/FIG-09+apf.key.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZInbqNjM4t13UnvUzjHl4Pw3eeRsnnfHfnRRkq8qlFDJS06P5FHQqcIN5l1Bsra_K5nmzjtSpMs1-Q6h3vj8Ax5uyLrpXos6e8DqrqSdfiOTy-NGzIZfM2xTEhfYoHdMZPnHcSsqSwL_/s2048/FIG-10+co-100k.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1367" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZInbqNjM4t13UnvUzjHl4Pw3eeRsnnfHfnRRkq8qlFDJS06P5FHQqcIN5l1Bsra_K5nmzjtSpMs1-Q6h3vj8Ax5uyLrpXos6e8DqrqSdfiOTy-NGzIZfM2xTEhfYoHdMZPnHcSsqSwL_/w268-h400/FIG-10+co-100k.jpg" width="268" /></a></div><br /><p>1-5 elGt</p><p>The one I was most satisfied with during the experiment was Gt AMP. I was surprised at this because simply arranging the sound source recorded with X-Y stereo in Ls-Rs completed a sufficient sound field.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHfYg3CYlDm1Ryqllg6HC3a6EWQB1JxeX-cnTAokZgyxvK2eDUBcn3J9gIneK761fynSFymZWL66aLykagpTM3tB8OUOtnAgHouq9e6FIrpfaOVqOdVUyyl_VF3NJrH3geZXn3nHAknr3F/s720/FIG-11+elgt.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHfYg3CYlDm1Ryqllg6HC3a6EWQB1JxeX-cnTAokZgyxvK2eDUBcn3J9gIneK761fynSFymZWL66aLykagpTM3tB8OUOtnAgHouq9e6FIrpfaOVqOdVUyyl_VF3NJrH3geZXn3nHAknr3F/w400-h300/FIG-11+elgt.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhhgr4QD9K-TZt3SJF9Um0q78Tyy2IAtmodV3-SHDrE2-4FTXxQa2C60fHaj2CEIYcfgVj7mHL-Num0kIgbFT90NihRBme1yY0700Ihp9udKHUmrPVmmEYjiJvZPEFmAeSKMD8GW-L2C4/s2048/FIG-12+egt+amp+up.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhhgr4QD9K-TZt3SJF9Um0q78Tyy2IAtmodV3-SHDrE2-4FTXxQa2C60fHaj2CEIYcfgVj7mHL-Num0kIgbFT90NihRBme1yY0700Ihp9udKHUmrPVmmEYjiJvZPEFmAeSKMD8GW-L2C4/w400-h268/FIG-12+egt+amp+up.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p>2 Actual Studio miking</p><p>The miking in the studio has the following combinations in order to realize the localization for each musical instrument tried in the experiment. There are more microphones compared to normal 2CH recording, but it can be said to be miking to utilize the actual sound of the studio in the surround sound field as much as possible.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmyOFpJub0I19kjSvRWYgFdteS-ievBKt2OUoSAdPCNWBDfaAobn6Fvlz4C8dRnoyb_UCF8n8IxKkmBC89C0HzClcwXYzyLB5esefSXVr2nQ_VJ3H2o0zgWry3rxB6mGCklVcBhKdjjEk/s2048/FIG-14+Circle+Round+Miking.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1275" data-original-width="2048" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmyOFpJub0I19kjSvRWYgFdteS-ievBKt2OUoSAdPCNWBDfaAobn6Fvlz4C8dRnoyb_UCF8n8IxKkmBC89C0HzClcwXYzyLB5esefSXVr2nQ_VJ3H2o0zgWry3rxB6mGCklVcBhKdjjEk/w625-h389/FIG-14+Circle+Round+Miking.jpg" width="625" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbq3b5tApv5WXvd_mqyCPwM6su7u5tk0LhiHtz0sfQ_Vhzc1XjPdNu2qKVs5ddfN94y_RrPZOXtG2xUBSwVRLIt3gF73H5vfJHjUuoDmFHDffPJ2smOUBcz9NNoMLrwI3fkLUVTaB9wHW/s2048/FIG-13+studio+wide.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbq3b5tApv5WXvd_mqyCPwM6su7u5tk0LhiHtz0sfQ_Vhzc1XjPdNu2qKVs5ddfN94y_RrPZOXtG2xUBSwVRLIt3gF73H5vfJHjUuoDmFHDffPJ2smOUBcz9NNoMLrwI3fkLUVTaB9wHW/w400-h268/FIG-13+studio+wide.jpg" width="400" /></a></div><br /><p></p><p> 3 5.1CH MIX and front L-C-R construction</p><p>3-1 Final surround localization</p><p>The musical instrument performances and the Vox-Chorus localization seen on the M-06 M-10 are introduced below.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWQ0lPVFeIWYKnQkBry_M2rBeOYGy5_mZZYw-Nrq7c7MW1t2bS49VZ7s4CsAwES2nm5DHTR7Ofp4Jx_W6MV4d-4IhLNIE7chEPvnzmL314cl8t2mSFBXSUhnjTCZ1w_ODQ_Z2lkmg0A1a/s720/FIG-15+final+mix+all.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWQ0lPVFeIWYKnQkBry_M2rBeOYGy5_mZZYw-Nrq7c7MW1t2bS49VZ7s4CsAwES2nm5DHTR7Ofp4Jx_W6MV4d-4IhLNIE7chEPvnzmL314cl8t2mSFBXSUhnjTCZ1w_ODQ_Z2lkmg0A1a/w400-h300/FIG-15+final+mix+all.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijY7WzQZkwkGYdZEwDjEhycZ8NJFfXgsYYcXkbNETltDzAo0ff7Ijg6Zx6rEHuqP83p5ZoQ3kSSxN4G8XWMFA-onib9EI2PVtq0ihqF6j_HMTluKPoxVjmBKOPO5RUDVwXUdOfTN8LAML3/s720/FIG-16+final+mix+vox-chorus.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijY7WzQZkwkGYdZEwDjEhycZ8NJFfXgsYYcXkbNETltDzAo0ff7Ijg6Zx6rEHuqP83p5ZoQ3kSSxN4G8XWMFA-onib9EI2PVtq0ihqF6j_HMTluKPoxVjmBKOPO5RUDVwXUdOfTN8LAML3/w400-h300/FIG-16+final+mix+vox-chorus.png" width="400" /></a></div><p>Since Vox Chorus plays the leading role in M-06 and M-10, the brass section has two types of localization as described below.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxjeJeCToaTGUi5bdcYX-dn47l3z-586osg6TyKf5r0FJlkazeOE9fsGRREMLyljM3s_ktBGRzMAk96X6Ix0ivOAk6Hyza5hNHf3A-MreoEKWEPbsjPXZUhjSOxQt_3tTRq472fGQEnkN/s1280/FIG-17+chorus+wide+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxjeJeCToaTGUi5bdcYX-dn47l3z-586osg6TyKf5r0FJlkazeOE9fsGRREMLyljM3s_ktBGRzMAk96X6Ix0ivOAk6Hyza5hNHf3A-MreoEKWEPbsjPXZUhjSOxQt_3tTRq472fGQEnkN/w400-h300/FIG-17+chorus+wide+.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPPgH4On9ve1EzgKt5beaE2zDXyNIRPb4oZx_BhG32HYTtuJxQyvMDPEnPNqZ-VUehKxEyNLxw4gwJY2JC-DUMiyxNaFDd-Fcg06sd2-KnubzAsJBa4gjR-_u8FM5J1-n1GCIjyFHs1i_/s720/FIG-18+brass-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPPgH4On9ve1EzgKt5beaE2zDXyNIRPb4oZx_BhG32HYTtuJxQyvMDPEnPNqZ-VUehKxEyNLxw4gwJY2JC-DUMiyxNaFDd-Fcg06sd2-KnubzAsJBa4gjR-_u8FM5J1-n1GCIjyFHs1i_/w500-h375/FIG-18+brass-02.png" width="500" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizCpMZmkLucnBJh2WoeDTCZ8u1EokV1YkahcJDOrCXpiwgpzS728ct5-M7Yd37hpYeRqnOUvMbWc4VFtF9wu4by6T0acsMRYPrF3apx3oPFUwm6gWXUKNv9te3HhdZhtXIcNtH3qrjEj8/s720/FIG-19+brass-03.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizCpMZmkLucnBJh2WoeDTCZ8u1EokV1YkahcJDOrCXpiwgpzS728ct5-M7Yd37hpYeRqnOUvMbWc4VFtF9wu4by6T0acsMRYPrF3apx3oPFUwm6gWXUKNv9te3HhdZhtXIcNtH3qrjEj8/w400-h300/FIG-19+brass-03.png" width="400" /></a></div><p>3-2 Final Check display of Surround MIX</p><p>Using the Final Check function on my DAW Pyramix, I wrote down the distribution and level of each instrument from the project for each musics for which Final Mix was performed. The left side of the screen shows the total localization distribution, the right side shows the peak level and TP level, and the channel display L-C-R-Ls-Rs-LFE is on the lower side. Please refer to the distribution.</p><p>a Brass L-C-R and Ls-Rs</p><p>Only L-C-R front is used for music that requires brass power, and Ls-Rs components are added that should have a brass atmosphere.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimclki40oyWsLz6cYNJoFKgiIxSNOdXuz2UHRKj_VP1fBe0Zn4eBK88SD3VVejeZiKg_HkPPkbjs2We4LbyfREvhmFIv_tRBhUuaVA0c6w3bFWGJIJoobBs12Fbw0oUCcXU0r-2INH8lol/s747/FIG-21+BRASS+AMBI.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="747" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimclki40oyWsLz6cYNJoFKgiIxSNOdXuz2UHRKj_VP1fBe0Zn4eBK88SD3VVejeZiKg_HkPPkbjs2We4LbyfREvhmFIv_tRBhUuaVA0c6w3bFWGJIJoobBs12Fbw0oUCcXU0r-2INH8lol/w400-h228/FIG-21+BRASS+AMBI.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieYW5a8dryb3qGYPWh41e3BUyQuIlI37lqf-vNbpu4H-H08kavfrdFb6HVQuIVk11_ZQNO0gA3YxxOfFZ1BwnC6zIFFW-l2Nj50l7YTx-pUkY-tocb-Ajt-UrgsHwRj7gnAPs3s71r-tjV/s743/FIG-20+BRASS+L-C-R.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="743" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieYW5a8dryb3qGYPWh41e3BUyQuIlI37lqf-vNbpu4H-H08kavfrdFb6HVQuIVk11_ZQNO0gA3YxxOfFZ1BwnC6zIFFW-l2Nj50l7YTx-pUkY-tocb-Ajt-UrgsHwRj7gnAPs3s71r-tjV/w400-h223/FIG-20+BRASS+L-C-R.png" width="400" /></a></div><p></p><p>b Brass M-06 M-10 localization</p><p>The brass section is a modest localization because Vox and chorus parts mainly occupy these two music.</p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6YyWElyNUD7yHuUzTMzHt0oKsQVXfLF5b0AEXOXSsSIjujJPm-bFXbCiMndAPoNWIl-VK7oBElEyMiekkjm7S5aypCWJnTOm9QNmSAOxPqIqb79r3g9KLZanxvUdSwB4Nt2koUpfnxYC/s739/FIG-22+BRASS+M-06.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="739" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6YyWElyNUD7yHuUzTMzHt0oKsQVXfLF5b0AEXOXSsSIjujJPm-bFXbCiMndAPoNWIl-VK7oBElEyMiekkjm7S5aypCWJnTOm9QNmSAOxPqIqb79r3g9KLZanxvUdSwB4Nt2koUpfnxYC/w400-h230/FIG-22+BRASS+M-06.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GCnbhMapw8TTd5-Qzu5usGctbjC1WI7avzGCgoqA2Ipb_rbW_m1yc2Sm9R5wOnK3C61ANnt4xr7rDgSAF8KlOJ3zySyoeJ1_t86Fdcy3Ta-oWwfmc7PzNhiNuq8vttNRDN8wI_kFx4Qc/s738/FIG-23+BRASS+M-10.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="738" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GCnbhMapw8TTd5-Qzu5usGctbjC1WI7avzGCgoqA2Ipb_rbW_m1yc2Sm9R5wOnK3C61ANnt4xr7rDgSAF8KlOJ3zySyoeJ1_t86Fdcy3Ta-oWwfmc7PzNhiNuq8vttNRDN8wI_kFx4Qc/w400-h231/FIG-23+BRASS+M-10.png" width="400" /></a></div><br /> c Cbs localization<p></p><p>Cbs uses L-C-R CHs uniformly to keep a tight rhythm comparable to brass.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9XeWf1L5gEB0QU6Y08V5LqoOgzr0aqpJsyiomNRx7nhi4wfZBOOvsx1ceYNuESijUs4auKloSls_r4ZJlep6WfVIBvpEJapQqbdrE8cIOq3GLsaQSnejBaEn4IUHoF4pE0ZPqfZhqn4u/s743/FIG-24+CBS+L-C-R.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="743" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9XeWf1L5gEB0QU6Y08V5LqoOgzr0aqpJsyiomNRx7nhi4wfZBOOvsx1ceYNuESijUs4auKloSls_r4ZJlep6WfVIBvpEJapQqbdrE8cIOq3GLsaQSnejBaEn4IUHoF4pE0ZPqfZhqn4u/w400-h221/FIG-24+CBS+L-C-R.png" width="400" /></a></div><br /><p></p><p>d Drums and Ls-Rs</p><p>With the M-05, which has a solo part for the drum, I used the Ls-Rs Omni mic pair for brass to give a feeling of air. As you can see from the layout, this pair is installed just between the brass and the drum booth.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidx2t0JlRQADOJpzEl5o4jaTGLz3XtXOC_gUBPqCUGH_I1D2xn5zXMQJFt55r428m7UcaTaHkNi9r8lYBZzlLFZ_wmpL9btnS3wA_V6M0hushwXicFIYi1W5_adbuc3O-9K27dLGFpx94C/s746/FIG-25+DRUMS+AMBI.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="746" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidx2t0JlRQADOJpzEl5o4jaTGLz3XtXOC_gUBPqCUGH_I1D2xn5zXMQJFt55r428m7UcaTaHkNi9r8lYBZzlLFZ_wmpL9btnS3wA_V6M0hushwXicFIYi1W5_adbuc3O-9K27dLGFpx94C/w400-h225/FIG-25+DRUMS+AMBI.png" width="400" /></a></div><br /><p>e Apf front and Ls-Rs</p><p>Apf also put a CO-100K pair in Ls-Rs in the music featuring Apf to give a feeling of air.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfvICSrrUeRwopKjD0IkXbEvUOVpW0EJY1JPvm7BjKqoOPqKOQQ71qEiiekC48XHANSLQckAPqc5Y-2T1dfUVpK5eDXgYTO23u3T3z0KLnKXZONiv59vMGCaVyOnyJU3UD9ok0V3Kq1xB9/s746/FIG-26+APF+L-R+AMB.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="746" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfvICSrrUeRwopKjD0IkXbEvUOVpW0EJY1JPvm7BjKqoOPqKOQQ71qEiiekC48XHANSLQckAPqc5Y-2T1dfUVpK5eDXgYTO23u3T3z0KLnKXZONiv59vMGCaVyOnyJU3UD9ok0V3Kq1xB9/w400-h223/FIG-26+APF+L-R+AMB.png" width="400" /></a></div><br /><p></p><p>f elGt localization</p><p>The KM-184 pair is placed straight on Ls-Rs CH, and a little 4CH reverb is added to the front.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDlkQ2IUbePSNtXnOsuzc1OYoToofPy0js0LRhb8Qi8fzDqXbH5SZSAEEnL5P2kPRlPCWT0qOgB8xC6UKBHKCyM5NoMLGWSfNuoCJwgck6VyLO3GfUpPBIXL1jSVS8T_OduJmmz19pJA7H/s742/FIG-27+ELGT+.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="742" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDlkQ2IUbePSNtXnOsuzc1OYoToofPy0js0LRhb8Qi8fzDqXbH5SZSAEEnL5P2kPRlPCWT0qOgB8xC6UKBHKCyM5NoMLGWSfNuoCJwgck6VyLO3GfUpPBIXL1jSVS8T_OduJmmz19pJA7H/w400-h228/FIG-27+ELGT+.png" width="400" /></a></div><br /> g Stereo of Vox Chorus<p></p><p>The X-Y pair has two voices and three voices overdubbed on the front and Ls-Rs. I think that these sound sources were able to produce good effects for surround sound.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmxjXpIcGqG9u2QkPCOQ52jTL9tGHX6mCETQ0OrpHgS6UhT12nd3lkjahHLHcMiL2BE1bfNnUDcS_yNdhX_56__aNHkUg2OVMGDX_9LXepb_bD7HJqzuCughpMFV0ryqOjfMWTidK9hJ0/s741/FIG-29+CHORUS+ALL.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="741" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmxjXpIcGqG9u2QkPCOQ52jTL9tGHX6mCETQ0OrpHgS6UhT12nd3lkjahHLHcMiL2BE1bfNnUDcS_yNdhX_56__aNHkUg2OVMGDX_9LXepb_bD7HJqzuCughpMFV0ryqOjfMWTidK9hJ0/w400-h224/FIG-29+CHORUS+ALL.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCStCm9ftEXeS_qu2zCF-9sa8J5saP4vhGGQNsraOm30AezjLRCRP-HYG3YtlqSjzm0iJwi7JVoGr7LDjqWJTlHO9aUPn_V1PUunFWrD6QXYTjt7SqnmfEusJwwy31djmiNXHR4oK4ct1W/s734/FIG-28+VOX-CHORUS+.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="419" data-original-width="734" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCStCm9ftEXeS_qu2zCF-9sa8J5saP4vhGGQNsraOm30AezjLRCRP-HYG3YtlqSjzm0iJwi7JVoGr7LDjqWJTlHO9aUPn_V1PUunFWrD6QXYTjt7SqnmfEusJwwy31djmiNXHR4oK4ct1W/w400-h229/FIG-28+VOX-CHORUS+.png" width="400" /></a></div><p></p><p><br /></p><p>3-3 Comparison of loudness value and true peak value for each music of 2CH MIX and 5.1CH MIX</p><p>Finally, the loudness value and True Peak value for 2CH MIX and 5.1CH MIX FINAL is shown. The international standard defines the True Peak value as Max -1, but this time it is slightly higher!</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyIhk4MLgATMx5nf5M7c1BcFVtTzbD9rA-XCIi3-2ba-HVJE4MdqWxFUQIyg633JHGNIGPY9WtrBPXXoCIz_RLDUgpJoT_bEMCV_S11__8lyqAgLfDkgMgvX_TvdipVtx7QQc2RpcGoEb_/s2048/FIG-30+circle+round++LKFS-TP+data.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyIhk4MLgATMx5nf5M7c1BcFVtTzbD9rA-XCIi3-2ba-HVJE4MdqWxFUQIyg633JHGNIGPY9WtrBPXXoCIz_RLDUgpJoT_bEMCV_S11__8lyqAgLfDkgMgvX_TvdipVtx7QQc2RpcGoEb_/w554-h781/FIG-30+circle+round++LKFS-TP+data.jpg" width="554" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><b>4 survey of pop music jazz surround mix techniques</b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Even in music, it is necessary to have an idea on how to utilize front L-C-R in band formations such as JAZZ and POPS. The author has analyzed 5.1CH MIX of such genres with DVD-A and SA-CD, but what I found that it can be roughly divided into three types. I will introduce each of the following features and typical MIX surround placement.</span></div><p>4-1 Three types of surround mix </p><p>a Pseudo surround MIX</p><p>This is a seeming surround software that surrounds the 2CH MIX as it is in the front L-R with surround MIX that can be said to be a fraudulent act from the author's perspective, and arranges the same sound source in the Ls-Rs with a low level and add reverb. In the past, there was an example in the movie where the OPENING jingle was the same as it used to be, but in the surround MIX it was simulated surround using the same method, but recently new recordings have made it impossible to hear such simulated surround sound.</p><p><br /></p><p>◉ Beach. Boys PET SOUND MIX BY Mark Linetto and Brian Wilson</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMOci7RkXSSXHHj-M3eBgy8ZEeWdIK8VjXeuJkiTFkB6Rn-AEhmEaw-ioT8xBRmj-yWXC9-BooKUa7z67I_SzkU-GpdghYEPvfvTpS2VB6OzC5twTrx41Lqb-r_7FSYdaU7OuWr-CSsytW/s747/FIG-31+BEACHBOYES+M-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="747" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMOci7RkXSSXHHj-M3eBgy8ZEeWdIK8VjXeuJkiTFkB6Rn-AEhmEaw-ioT8xBRmj-yWXC9-BooKUa7z67I_SzkU-GpdghYEPvfvTpS2VB6OzC5twTrx41Lqb-r_7FSYdaU7OuWr-CSsytW/w400-h228/FIG-31+BEACHBOYES+M-01.png" width="400" /></a></div><br /> <p></p><p>◉ Marvin Gaye Let’s Get it on MIX BY Jeff Glixman</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5YBzo22Mzb7YfY8SGnipHfIFXDTDAyzobi4xVi7VzyXZ2JRq4bCgxkakGAopEAfqjT-WycKyzeQytoNCCTv3IAR5IyTT-iIT1BggEFYsn1-qm8-cX5nNA4wIOz8uGIGrB77jv7zlWPpHS/s740/FIG-32+MARVIN+GAYE+M-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="740" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5YBzo22Mzb7YfY8SGnipHfIFXDTDAyzobi4xVi7VzyXZ2JRq4bCgxkakGAopEAfqjT-WycKyzeQytoNCCTv3IAR5IyTT-iIT1BggEFYsn1-qm8-cX5nNA4wIOz8uGIGrB77jv7zlWPpHS/w400-h228/FIG-32+MARVIN+GAYE+M-01.png" width="400" /></a></div><br /><p>b The front consists mainly of phantom L-R, and the center CH is a bonus</p><p>The key instruments such as vocals, drums, and bass that are most commonly found in surround mixes in the POPS genre are L-R phantoms.</p><p>This is because the Grammy Award winning mixers in the US said that the surround system at home is mostly smaller than the L-R SP and the C-CH SP has poor quality, so important sounds cannot be put in C-CH. I think.</p><p><br /></p><p>◉ Bjork MEDARA MIX BY Valgeir Sinurdsson</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGT-I4mTl7gU0OBEbZdTFK_scyLVr6F_wPZkgqa_r5jby55z0CstBa4VfgJbIo6XqKbvvEKFTs7OkW3Qq4q_itv_AEzcgc1MSSiuorvK_Y0PpSzRIjHvaO3PkNDtl_6mdRzPaXqENBslSH/s745/FIG-33+BJORK+M-14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="745" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGT-I4mTl7gU0OBEbZdTFK_scyLVr6F_wPZkgqa_r5jby55z0CstBa4VfgJbIo6XqKbvvEKFTs7OkW3Qq4q_itv_AEzcgc1MSSiuorvK_Y0PpSzRIjHvaO3PkNDtl_6mdRzPaXqENBslSH/w400-h229/FIG-33+BJORK+M-14.png" width="400" /></a></div><p></p><p><br /></p><p>◉ Shirley Horn HERE’S TO LIFE MIX BY Al Schmitt</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmt9cF4-tCo765zDAzyn5CiBdwAQUjJcAZ-GXfWBAxJYSeTLy1xKSA_GhhXl9Kodemw2I_pSH1Zr8IslgH7YMMNT_n3eBAV-gf0H3UVnqtMNkMEpD-PVzEED8KRhjmQhR1p81e8CxNiId/s745/FIG-34+SHIRLY+HOREN+M-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="745" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmt9cF4-tCo765zDAzyn5CiBdwAQUjJcAZ-GXfWBAxJYSeTLy1xKSA_GhhXl9Kodemw2I_pSH1Zr8IslgH7YMMNT_n3eBAV-gf0H3UVnqtMNkMEpD-PVzEED8KRhjmQhR1p81e8CxNiId/w400-h228/FIG-34+SHIRLY+HOREN+M-01.png" width="400" /></a></div><br /><p></p><p>◉ Donald Fagen Morph the CAT MIX BY Elliott Scheiner</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoi0WBcgHyXT9bdPIELLvt2QEwWSENK0NdircAxfxXwUJz_bAEvXZ_KupkNnT4vp2HoTfDl_zrFRcCjIcjJlawYiE7Wq6hvzEfD9DUfuvDHyIruLoMs5POp0psy-ugBlm2RdYy6n2TvMsj/s749/FIG-35+donald+fagen+m-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="749" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoi0WBcgHyXT9bdPIELLvt2QEwWSENK0NdircAxfxXwUJz_bAEvXZ_KupkNnT4vp2HoTfDl_zrFRcCjIcjJlawYiE7Wq6hvzEfD9DUfuvDHyIruLoMs5POp0psy-ugBlm2RdYy6n2TvMsj/w400-h226/FIG-35+donald+fagen+m-02.png" width="400" /></a></div><br /><p>◉ Bonnie Raitt Nicks of Time MIX BY Ed Cherney</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1N4FbZuyZeDZ6bVKhoc_1Szcsw6tqyiMHxPMTTT2HyXaQkmyyTBQV7T58PFxvjaNzGX3Bzya2mNwdAeFRpm2zwWjJxBmdrJHkg6rjQ6AyigMSJkw5dNfG6A3H5I0a9z7CTHQUnxrPAU5B/s742/FIG-36+BONNIE+RAITT+M-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="742" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1N4FbZuyZeDZ6bVKhoc_1Szcsw6tqyiMHxPMTTT2HyXaQkmyyTBQV7T58PFxvjaNzGX3Bzya2mNwdAeFRpm2zwWjJxBmdrJHkg6rjQ6AyigMSJkw5dNfG6A3H5I0a9z7CTHQUnxrPAU5B/w400-h226/FIG-36+BONNIE+RAITT+M-01.png" width="400" /></a></div><br /><p>c Utilizing the effectiveness of center CH</p><p>This is a mix that makes full use of the characteristics of the front L-C-R and actively utilizes C-CH. Vocals are clearer and more stable in localization than phantom sound images.</p><p>◉ George Benson Songs and Stories MIX BY Don Murray</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaNEVlvgU38Da7Epjmyp9NK8eljaFjsPMX99esvP2jBiGhFHu-r4UZAjdcFftkcwMKi2O-rGpXDbYwfj0VWUTpJGsJbxYFABBcIoqvL7YhI27eiO8vsLjziwdo2oUflhLkxQ8CyqCJi0u/s742/FIG-37+GEORGE+BENSON+M-04.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="742" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaNEVlvgU38Da7Epjmyp9NK8eljaFjsPMX99esvP2jBiGhFHu-r4UZAjdcFftkcwMKi2O-rGpXDbYwfj0VWUTpJGsJbxYFABBcIoqvL7YhI27eiO8vsLjziwdo2oUflhLkxQ8CyqCJi0u/w400-h229/FIG-37+GEORGE+BENSON+M-04.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>◉ Art of Noise DAFT MIX BY Dan Vickers</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5hDybI5vTpy1QXIfwt6feoaNN0yzCYgrsft94MrhLwWaeGZWBespnf4cfXsM_a_3D1aUW-i5SopqK8NvyAR5zsHtCw4C80XxQaYe-rc9jzyvWqKNS4gvJvmkMMMyOhypPbIxLPJp77Qe2/s744/FIG-38+ART+of+NOISE+M-03.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="744" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5hDybI5vTpy1QXIfwt6feoaNN0yzCYgrsft94MrhLwWaeGZWBespnf4cfXsM_a_3D1aUW-i5SopqK8NvyAR5zsHtCw4C80XxQaYe-rc9jzyvWqKNS4gvJvmkMMMyOhypPbIxLPJp77Qe2/w400-h224/FIG-38+ART+of+NOISE+M-03.png" width="400" /></a></div><br /><p></p><p>◉ Linda Ronstadt What’s New MIX BY George Masenburg</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5_voWds6bigbDDR5kXt3KHNChRMY6jWNDWPlbkLqIglITjdlOK_o0M4LBF7Aq3PkbpO_ZgHxjcdB96t0tGNwgcQUuPa8ihy-HmzjM5aSU3RFmwMS6m9DMqHEsOy4rXXUs93zXVxc3r-vk/s743/FIG-39+LINDA+RONSTADT+M-01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="743" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5_voWds6bigbDDR5kXt3KHNChRMY6jWNDWPlbkLqIglITjdlOK_o0M4LBF7Aq3PkbpO_ZgHxjcdB96t0tGNwgcQUuPa8ihy-HmzjM5aSU3RFmwMS6m9DMqHEsOy4rXXUs93zXVxc3r-vk/w400-h229/FIG-39+LINDA+RONSTADT+M-01.png" width="400" /></a></div><br /><p></p><p>◉ Dire Straits Brothers in Arms MIX BY Chuck Ainlay</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi164kQA8ll1h0U_Sy8QYEX8uThq2n1cfQ0NQQkuaY40RvSALWLyLgngDezCLvEtWkxvHZD7qQ24mS7u5wCMXqCfbrfsYq0mah4T4U1UBhTli3ve6gzM6eOrCjjP7x8QcK3e7Pj7A0_zA3s/s747/FIG-40+DIRE+STRAITS+M-02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="747" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi164kQA8ll1h0U_Sy8QYEX8uThq2n1cfQ0NQQkuaY40RvSALWLyLgngDezCLvEtWkxvHZD7qQ24mS7u5wCMXqCfbrfsYq0mah4T4U1UBhTli3ve6gzM6eOrCjjP7x8QcK3e7Pj7A0_zA3s/w400-h228/FIG-40+DIRE+STRAITS+M-02.png" width="400" /></a></div><br /> At the end<p></p><p>I asked leader, Tomonao Hara, to compare and listen to the same sound source on 2CH and 5.1CH, and if the artist was satisfied, UNAMAS announced that we would like to release 5.1CH MIX as well. If I was told -this is not our music!-, I decided to quit surround mix release and keep it in 2CH MIX, but he listening to it, but as a result, Mr. Hara himself liked the Jazz 5.1ch MIX, which was his first experience. UNAMAS will release it safely on August 7th. </p><p><br /></p><p>For your reference, I would like to introduce the following excerpts from comments by Norimichi Hasegawa, a critic who has written many liner notes on the UNAMAS label.</p><p><b>" …I listened to it with a very fresh feeling. Speaking of Jazz, after all, Blue note, Impulse, etc., and the image from the monaural era is strong, and even after entering the stereo era, Shure's M44 cartridge and JBL speakers are combined and the thick outline drawing is especially old fan I feel that I'm impressed with my sense of hearing. From such an image, the combination of Jazz and surround may be unfamiliar. However, if you listen to the surround mix this time, it is just an eyes opener.</b></p><p><b>First of all, it is the presence of the center ch that leaves a strong impression. The front 3ch is completely different from the sound impression of 2ch stereo. In the case of 2ch, the virtual sound image that is lined up so as to be stuck between the two speakers is a feature, but a more realistic sound image appears by adding the center channel. Drums and basses are realistically drawn with their perspective spaces. It goes without saying that the information on the rear ch plays a major role in addition to the information on the center ch.</b></p><p><b>The spatial shapes of the sounds drawn by each instrument are intertwined while freely expanding and contracting... This sensation of wobbling and the sensation of causing a chemical reaction in which the artist's energy intersects in space cannot be experienced in surround classical music. I think it's an interesting feature of Jazz play.</b></p><p><b>And what is amazing is the trumpet and saxophone, what is this penetration? I was so impressed that it couldn't be stereo. The cleanliness of putting a brush straight from the front to the back. The sound stimulates the brain. Yes, this plays a big role in the guitar placed on the rear ch. By feeling the guitar in the rear, the real existence of the surround sound field becomes clear. That's why the trumpet sounds fly.</b></p><p><b>Speaking of surround, I think that people often think of it as recreating the atmosphere of a live venue... but this time the surround is completely different. On the front side, the performance on the stage is the ambient component of the rear channel, so to speak, it is a surround recording to "record" the performance, and it is an act involved in more actively "expressing" using the weapon of 5ch. We will demonstrate the real charm of music created by the collision and sympathy of energy emitted by artists in the acoustic space created by the surround. </b></p><p><b>I think this is a challenging and innovative approach that is a collaborative work between artists and mixing engineers…."</b></p><p><b>♩♫♬♫♪♫♬♫♩♪♫♬♩♪</b></p><p><b>By Hasegawa Norimichi</b></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-79962932925055104672020-07-19T17:31:00.005-04:002020-07-25T21:45:08.242-04:0011.1CH Immersive recording at Sibelius Hall in Finland - GENELEC and UNAMAS Label Music Production<div style="text-align: right;">
By Mick Sawaguchi C.E.O UNAMAS Label</div>
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1. Background and purpose of project realization</div>
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Late Genelec founder Ilpo Martikainen is also of the same generation with me, so often exchanged information. I have participated in the 2008 GENELEC 30th year anniversary ceremony, then asked him to guide and rode his boat to take a field recording around the town. I have memories. When the GENELC team came to Japan in 2017, his son, Juho, accompanied him and Mr. Seiji Murai from Syntax Japan was played back F.Shubert {Death and Maiden} recorded in UNAMAS album UNAHQ 2009 from the Dolby Atmos BD disc in the viewing room. </div>
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He plays a contrabass, so immediately asked Seiji after listening to it, </div>
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(This is a score that is not played with the original score. What is the score? </div>
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If I could get the score because I want to play it?)</div>
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After that, I sent him a score arranged by UNAMAS and performed at that score in Finland. Mr. Juho liked the policy of UNAMAS LABEL, which produces many albums with spotlights on double bass, and sincerely agreed with each other.</div>
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In addition, at the AES INT CONFERENCE held in Tokyo in August 2018, I gave a lecture on the musicality of IMMERSIVE MUSIC RECORDING and the UNAMAS Label method as an example of the approach of height miking at the workshop, and at the same time at GENELEC DEMO ROOM. UNAMAS Label’s IMMERSIVE AUDIO music was demoed on 11.1CH.</div>
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During the period, GENELEC CEO Siamäk has a plan to create IMMERSIVE AUDIO reference music at GENELEC that will be helpful for users; He asked if UNAMAS Label would also cooperate with the sound source. I said that it would be happy to cooperate with you, but GENELEC has a great bass player Juho, so why don't you make a new recording? </div>
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You can have your own sound source.</div>
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After that, it seems that GENELEC consulted with a label that is producing several Immersive Audio albums to provide sound sources, but abandoned realization in terms of rights contract and cost. Mr. Juho, who started this project and was in charge of the director, selected the music and members suitable for organization with Cb and examined some recording venues as a result finally in Sibelius Hall of Lahti where on the lakeside outside Helsinki. In 2019 7 27-28th of a month Equipment preparations 29-31st day of recording will be done. The recording equipments were from Japan, and members from Japan and Germany formed the production team.</div>
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2. Music Production crew and performance members</div>
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2-1 The songs and artists</div>
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Franz Schubert Piano Quintet in A major, D. 667 Trout</div>
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MOV-01 Allegro vivace (A major) time: 13'41”</div>
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MOV-02 Andante (F major) 07'04'</div>
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MOV-03 Scherzo Presto (A major) 04'11”</div>
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MOV-04 Andantino Allegretto (D major) 07'44”</div>
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MOV-05 Allegro giusto (A major) 09’51“</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVLym9RslwrRf8TpVj8BUmnNAEQZ_7y_tBwWsOgpdOkwckJ6ob_5tfBtMXhANZCT8m3qBNAK5pTawZhJAEQRhBYVohbq7YH1sl7mcILiia-a4H9t_wRFLT5tbenZIWIdY8AtILPH3oM5tM/s2048/FIG-06+gs+5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVLym9RslwrRf8TpVj8BUmnNAEQZ_7y_tBwWsOgpdOkwckJ6ob_5tfBtMXhANZCT8m3qBNAK5pTawZhJAEQRhBYVohbq7YH1sl7mcILiia-a4H9t_wRFLT5tbenZIWIdY8AtILPH3oM5tM/s320/FIG-06+gs+5.jpg" width="320" /></a></div>
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<div>
Juho Quintet</div>
<div>
Joonas Pohjonen Apf</div>
<div>
Petri Aarnio Vn</div>
<div>
Ezra Woo Va</div>
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Sami Mäkelä Vc</div>
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Juho Martikainen Cb</div>
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<br /></div>
<div>
Giovanni Bottesini</div>
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Elegy for double bass & piano No. 1 in D major 04'22”</div>
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Joonas Pohjonen Apf</div>
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Juho Martikainen Cb</div>
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<div>
Jean-Baptiste Barriere </div>
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Sonate No10 09’59”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Md3OGf1yUP9gd3s42K0xgR2d_rwyRwXVsplktF1X50tGwnN_oEX-8Ds1QKOEIKj-ivZSyypdVkePDiUUa5is0xSdqEx-URTKz7u_40Dd3g8THEVYiGP7tgLZNZe_8IvHcGPGctuBabeU/s2048/FIG-08+DUO+SONATA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Md3OGf1yUP9gd3s42K0xgR2d_rwyRwXVsplktF1X50tGwnN_oEX-8Ds1QKOEIKj-ivZSyypdVkePDiUUa5is0xSdqEx-URTKz7u_40Dd3g8THEVYiGP7tgLZNZe_8IvHcGPGctuBabeU/s320/FIG-08+DUO+SONATA.jpg" /></a></div>
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<div>
Sami Mäkelä Vc</div>
<div>
Juho Martikainen Cb</div>
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<div>
2-2 production crew and main system</div>
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<br /></div>
<div>
Executive Producer Siamäk Naghian: GENELEC</div>
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Producer Juho Martikainen: GENELEC</div>
<div>
Production Coordinator Seiji Murai: Synthax Japan</div>
<div>
Music Director Tetsuro Kanai</div>
<div>
Recording/mix/mastering Mick Sawaguchi: UNAMAS Label</div>
<div>
Assistant Engineer Jin Itoh: Synthax Japan</div>
<div>
System Engineer Takeshi Mitsuhashi: Synthax Japan</div>
<div>
Rec. Date</div>
<div>
29th-31st July 2019 At Sibelius Hall in Lahti Finland</div>
<div>
Rec systems</div>
<div>
MADI Rec by DMC842/Micstasy/MADI face XT</div>
<div>
(Synthax Japan Inc)</div>
<div>
Digital Mic KM-133D as Main Mic and Apf</div>
<div>
Mic Cable: The Chord Company</div>
<div>
DAW: Pyramix V-12 192-24 Rec-Master (Merging Technology)</div>
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Magix Sequoia V-13</div>
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3. Details of Recording </div>
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This is the first overseas recording with me who usually produces an album based on the Ohga Hall in Karuizawa. What kind of environment is Sibelius Hall? I was wondering what to do with the photos or Documents of Sibelius Hall alone, but in a timely manner in May 2019, Mr.Seiji Murai went to Germany and dropped by Sibelius Hall .He gave me a video as actual venue. </div>
<div>
The configuration was as shown below. This time, the main theme was the setting of the main mic that satisfies all the balance, performance, and communication for the composition of piano and string 4 this time.</div>
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</div>
<div>
All of the main equipment was brought in from Japan, so we were very grateful to Syntax JAPAN for carnet application and customs clearance procedures.</div>
<div>
On the afternoon of July 27, we opened the equipment at Helsinki's GENELEC OFFICE and checked the equipment, and confirmed that there were no problems and prepared for the 28th.</div>
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<div>
Since this hall was a typical shoebox shape found in Europe and the sound was attenuated quickly, the gain of the height mic was set as large as possible. Also, when I talk about that story as an engineer of the hall, when the BIS label records here, it opens the side reflectors to reinforce the sound, so we opened the reflectors this time as well. When listening to the height component of 4CH solo, the 2CH in the middle is rich, but the 2CH at both ends face to the side, so it seems that the attenuation was fast, so this reinforcement is very effective, He said that recordings of classical labels in Europe are frequently made.</div>
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●<span class="Apple-tab-span" style="white-space: pre;"> </span>Piano Quintet and Spider Tree 7.1CH main miking</div>
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Trout is a composition of Apf and Vn Va Vc and Cb. When recording in Europe etc., they use a many spot mic to reduce a bleeding from Apf. That’s why Apf does not open the lid too widely. This time, we have devised to make the UNAMAS Label policy of 7.1CH+4CH set up. For Apf, I made a custom piano push-up PROP STICK and brought it to the hall to diffuse it into the hall. Also, the main microphone was a miking with a narrower height and distance than usual, focusing on string.</div>
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There is a Spot mic in Apf, but this is a miking that is placed on the FL-FR of the height, and I referred to an example of using the FL-FR of the height well as the Atmos mix sound design of the movie.</div>
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<div>
In this recording, the main 7.1CH was set up with a miking called Spider Tree, and the artist surrounds the main microphone, which I call Subjective Surround. This is because the recording is a kind of art that uses a microphone as a tool. I asked Mr. Juho in advance why I would record in a circumferential arrangement and asked him not to be confused on the day of recording.</div>
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<div>
The ceiling height from the stage is 11.1m .the C key of the piano is 443KHz.</div>
<div>
show the 3 miking as follow.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2os2uV_HOfrc4auek5mWIOCu3bYsoqsOWcDvcAE_3k_d0bcR5q9bfDBYRCdOvGSnh8O4vlzQqCB5DPbhYJE1Brd7u-VgX4Gd08SiXfRE7Bx-FKl8hQvNG5DDNcM4smwRrFZh4iaMFDMdo/s720/%25E3%2582%25B9%25E3%2583%25A9%25E3%2582%25A4%25E3%2583%2588%25E3%2582%25992.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2os2uV_HOfrc4auek5mWIOCu3bYsoqsOWcDvcAE_3k_d0bcR5q9bfDBYRCdOvGSnh8O4vlzQqCB5DPbhYJE1Brd7u-VgX4Gd08SiXfRE7Bx-FKl8hQvNG5DDNcM4smwRrFZh4iaMFDMdo/s320/%25E3%2582%25B9%25E3%2583%25A9%25E3%2582%25A4%25E3%2583%2588%25E3%2582%25992.jpg" width="320" /></a></div>
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<div>
● The 4CH height microphone needs a good S/N ratio. </div>
<div>
I chose OC-818. In the previous plan, I was considering the SONY C-100, which had good results when used in the Ohga Hall recording, but decided to use this microphone, which had a good S/N in the catalog specifications and my listening test. If the capsule has a 2-way design, self-noise will be added only because the two are combined.</div>
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For reference, this is an example of self-residual noise characteristics and price list that I have compiled as candidates.</div>
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Model<span class="Apple-tab-span" style="white-space: pre;"> </span>Self noise</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
<div>
C-100 SONY<span class="Apple-tab-span" style="white-space: pre;"> </span> 18dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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OC 818<span class="Apple-tab-span" style="white-space: pre;"> </span> 9dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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EHRLAND her-m<span class="Apple-tab-span" style="white-space: pre;"> </span>7dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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MKH 800 TWIN<span class="Apple-tab-span" style="white-space: pre;"> </span>12dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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UM-900<span class="Apple-tab-span" style="white-space: pre;"> </span> 16dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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CUX 100K<span class="Apple-tab-span" style="white-space: pre;"> </span> 17-22 dba<span class="Apple-tab-span" style="white-space: pre;"> </span> </div>
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M-102<span class="Apple-tab-span" style="white-space: pre;"> </span>11dba<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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Equivalent noise level(A-weighted)</div>
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● Few tips for Cb and Vc</div>
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Kanai Seisakusho KaNaDe The strings 1 insulator is installed in Cb and Vc to reduce the reflection from the floor of the hall called wolf and let the sound fly to the microphone. Because I've used it in Jazz Cb recordings, etc.<br />
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● Europe's power supply voltage is 230V, so equipment that supports this is 230V.For 100V compatible equipment used in, we brought in a 230V-100V step down device. The importance of the drive capability of the power supply is keenly felt in Japan, but the drive power of 230V was found great at the moment the sound was first heard from the speaker.</div>
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At the time of recording, I saw noise up to 100 KHz on the spectrum analyzer, but it was a very beautiful waveform compared to Japan.</div>
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4. Recording extra stories</div>
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From the day of recording, participants from Genelec, Vienna, and the video shooting team gathered, and some of them were recording experience classical music often. I'm listening to the conversation they're talking about together after seeing our miking. (I saw it for the first time, is it possible to record with this kind of miking? Is it all right?)! I was intimidated by myself (look forward to the results later...).</div>
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The direction of classical music is very important, and I would like to thank Tetsuro Kanai from Germany, who is fluent in German and English, I am grateful for the smooth progress while recording. Ezra Woo was an alumnus of Detmold, Germany with Tetsuro, and at the time of the tea break, they could have enjoyed a conversation in German.</div>
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The recording was quite tight because there were a total of 9 compositions on the schedule of recording. We spent 2 days for Trout then rest of 1 day; we spent 2 duo songs in the morning and afternoon of the rest of the day. </div>
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But Mr. Kanai, who is in charge of the direction, gave us proper instructions. We were able to finish at 15:00 on the last day. Mr. Kanai brought back the sound source, edited it, confirmed it with Mr. Juho, sent it to me via a server, and proceeded with Final Mix based on the 192-24 WAV data after DL.</div>
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5. Final Master completions</div>
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Final mix also produced 48-24 MQA and 44.1-16 WAV on 192-24・2CH・5.1CH・11.1CH. This time, I made a 32BIT FLOAT master with the album publishing function in Pyramix DAW (currently this function only supports up to 5.1CH master), but I tried making 192-24 WAV again from there. Compared to the sound source that did 192-24 MIX directly, 32BIT FLOAT workflow enable to preserve the rich sound and I thought it was a very useful function for classical music.</div>
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At the end</div>
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We would like to introduce to you all the useful comments from Mr. Asakura who listened to the album and wrote the liner.</div>
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Mr. Sawaguchi, who has made many immersive surround album productions and produced highly immersive albums, he recalls: ``The idea that the label started producing the classical genre since 2014 was because I wanted to see what the expression possibilities of post 5.1 channel immersive audio could have as music, not by research or studying it actually I thought that the rich ensembles of the performance and the spatiality of the sound were suitable for that.''</div>
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In this project, all immersive channels are 7.1.4. The main 5.1 was recorded with a microphone arrangement that spreads all around like a spider called a Spider Tree. This is the first method used in the "Four Seasons" recorded in December 2018 at Ohga Hall.</div>
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Regarding this method, Sawaguchi said, "I call this Subjective Surround. The recording is an art that uses a microphone as a tool." This comment is worth watching.</div>
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With Subjective Surround, we took a step beyond the norm of reproducing the actual sound field as it was, and stepped into "the recording person creates a new sound field". Instead of objectively cutting out the sound field as it is, the instrument is localized in such a way that you want it to be heard. </div>
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In the era of 2CH stereo sound field, even with such ideas, it was impossible to actually create a sound field in two channels. However, immersive surround was put into practical use, and it progressed from "delivering the sound field of the recording site as it is", making full use of the sense and artistry of the creator, not just reproducing the live sound field, but producing sound all around. The placement makes it possible to create a new, more moving, literally IMMERSIVE sound field. It can be said that this is a new recording style that utilizes the new technology. The master will be 11.1CH, but 5.1CH and 2CH newly mixed from here also retains a wealth of information, and there is the real pleasure of comparing and listening to the same music.</div>
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The following is the impression of Mr. Juho published in GENELEC NEWS release as a Producer </div>
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“It was a very natural process and there was a lot of freedom for me to decide with whom I would like to play and which type of repertoire we would record,” “Mick really loves the sound of the double bass and wanted classical performances, because he felt this type of music really suits the immersive audio format. </div>
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“I went through many options when choosing the pieces but decided to play it safe and go with Franz Schubert’s Trout Quintet for the first piece as it is an all-time favorite for me, also, we then chose Jean-Baptiste Barriere’s Sonate No: 10 which is a Baroque piece, originally composed for two cellos, but we played an arrangement for a double bass and cello instead. And then of course I had to play one piece composed by Giovanni Bottesini as I think he was a true master of the instrument. So I chose maybe his most famous piece, Elegy.” </div>
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“I think in general nowadays, many recordings are too polished and end up losing the vibe and the atmosphere of the actual moment”. “For us, it’s all about the music and this is the point we were trying to make. It’s about the creativity and to be there to help inspire the best possible level of musical ability. I was very happy when I heard the tracks and I think the system has captured this vibe brilliantly!” </div>
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Looking back fondly on the experience, “Working with Mick Sawaguchi and Tetsuro Kanai on this project was a once in a lifetime opportunity. As a musician, it was a great thing to be a part of, and I feel incredibly lucky to have played with great colleagues in a great hall with great equipment - it doesn’t get any better than that!” </div>
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The sound source has been used a seminar held by GENELEC CHINA as part of BIRTV's Immersive sound production event held in Beijing in August 2019, GENELEC demonstration at AES NY in October, and GENELEC ROOM at Inter BEE in November in Japan. It will be used at events such as the GENELEC SHOW ROOM, starting with the demo. (End)</div>
Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-5775768960469513712018-09-02T11:50:00.000-04:002018-09-02T11:50:36.537-04:002018 AES INT CONFERENCE W-01 「Consideration of Height ch miking along with music style」<div style="font-family: Osaka; font-size: 12px; font-stretch: normal; line-height: normal;">
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<b>AES 2018INT CONFERENCE</b></div>
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<b>[SPATIAL REPRODUCTION-Aesthetics and Science] TOKYO JAPAN</b></div>
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<b>Workshop-01―part-01PREPRINT</b></div>
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<b>「Consideration of Height ch miking along with music style」</b></div>
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<b> Mick Sawaguchi FM of AES. C.E.O UNAMAS Label</b></div>
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<b>Abstract </b></div>
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In this workshop, we will present a real world of Immersive Surround Production Practices by music album. Mick Sawaguchi will describe a relationship between height ch miking and Music style. We will be in charge of 75 minutes workshop with slides and playback that make it useful for participants.</div>
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From Mick Sawaguchi 4 time award wining producer engineer, his UNAMAS Label has been doing immersive sound productions from 2014 on 9.1 ch to 11.1 ch classical music production at Ohga Hall Karuizawa.</div>
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He introduce this recording concept by ART - TECHNOLOGY <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">–</span>and ENGINEERING that show you immersive surround miking and various heights miking to optimized music style and delivered format.</div>
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<b>Overview:</b></div>
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I will introduce the relationship between the height miking and style of music on a Immersive Surround (9.1CH or 11.1 CH) productions. The UNAMAS Label has been released 7 albums, which based on Ohga Hall from 2014 to the present.</div>
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Since it is divided into four types of height / miking roughly, I introduce each concept and production examples and demonstration playback. This time it is not the purpose to listen to music itself, so I will do the demonstration in about 6 minutes each.</div>
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<b>1 Concept of height channel miking</b></div>
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1-1 Immersive Surround is effective in beautiful halls, churches and historical buildings, and this is a goal to reproduction of a natural spherical sound field to the listeners.</div>
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In the recording studio, which originally designed to the dead, the creative type Immersive Surround approach will be effective. To utilizes the sound but assembles the instrument sound source in a hemisphere is effective. For this purpose, it is key to create a musical composition, which expresses a definite completed form at the stage of composition from the scratch.</div>
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1-2 Miking of the height channel is flexible from miking depending on what music are produced and there is no need to always stick to fixed array <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">·</span> miking.</div>
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However, Miking adopts a certain principle and an arrangement that considers phase and delay.</div>
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1-3 the directivity of the microphone used for height</div>
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● Omni</div>
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● Wide cardioid</div>
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● Cardioid</div>
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Selections of these are by the difference between the sound field and music style. There are studies that super directivity is effective among the various Height <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">·</span> Miking research in Europe, but this is simply a way of thinking that gives priority to separating from the main channel, the sound quality of the microphone used Hemispherical surfaces do not hold as music unless their characteristics are examined.</div>
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<b>2 Basic recording systems</b></div>
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The classic recording system at Ohga Hall has evolved since the beginning of 2014. The current basic recording system will be introduced below.</div>
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It consists of 7.1ch+4ch as total.</div>
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The 7.1ch divides 3 element that are 5ch main, 2ch SL-SR and LFE spot microphone.</div>
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<b>3 Miking of base channel "UNAMAS flow subjective surround"</b></div>
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Surround expressions in music so far .It has been roughly divided into 3 sound designs.</div>
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● Realistic surround ex: hall recording. Live concert</div>
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<span style="font-family: "osaka";">●</span><span style="font-family: "arial";"> </span><span style="font-family: "osaka";">Creative Independent Surround ex: pops contemporary music </span><span style="font-family: "osaka";"> </span><span style="font-family: "osaka";">Electric music</span></div>
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<span style="font-family: "osaka";">●</span><span style="font-family: "arial";"> </span><span style="font-family: "osaka";">All around Wall Surround</span></div>
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Each has advantages and disadvantages. The realistic surround is mainly adopted in classical and live concerts, the main sound field is on the front 3 CH, and the rear CH sounds only in the ambience sound. The creative surround is an approach to reconstruct the sound field by sorting each instrument that has recorded multitrack in the studio etc. mix by surround. The two disadvantages are said to be as follows.</div>
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● Because there is no real sound on the rear, the realistic surround sounds like a response from a listener saying </div>
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"It is not much different from stereo."</div>
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● In creative surround, "When you hear a tight sound all the way around, you get tired from listening for a long </div>
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Subjective Surround</div>
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So UNAMAS examined how to combine the merit of the two, and there are real sounds on all channels, but using the bleedings each other and not feel tight real sound. I challenged a design called a subjective sound field (an artist surrounding the listener) only possible at art of recording. The hint of this idea is UNAHQ 1009 "After Glow" album that I made at Onkyo House Music Studio in April 2013. It was designed, which arranged the string quartet around the solo piano, was also convincing as surround music, so we decided to proceed further.</div>
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Miking of the current main channel (called Bets etc.) is based on 7.1 CH as shown below. It is Miking of the 4CH height channel as described below to handle this upper part, and it becomes 11 <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">·</span> 1 CH as a whole.</div>
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<b>4 4 types of height -channel miking and musical expression</b></div>
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In the Immersive Surround, UNAMAS is working on an approach to realize the beauty of Hall's reverb with music, so to speak, a natural acoustic in a hemisphere. Here, we will introduce the relationship between Height <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">·</span> Mi king and style of music set at various points in the Ohga Hall.</div>
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In the future, I would like to work on a creative type of Immersive Surround where a real sound exists in the height channel by teaming with a talented composer. </div>
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4-1 UNAHQ 2007 J.S.Bach The Art of Fugue 2015 May</div>
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A: In February 2014, I started producing clasical albums at Ohga Hall, and when recording "Four Seasons" which became my first work, it is important to verify what the sound of the hall's height channel is like in the string quartet. We set a 4-meter height miking for the ceiling, this will be an idea carried out at After Glow. When I playback it at a later at My studio, I can find that a very well-balanced sound is in the vicinity of the ceiling and plan to introduce it in the next recording of The Art of Fugue Project. </div>
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B: Why target the ceiling reflected sound on the stage with [The Art of Fugue]?</div>
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The form of Fugue is called a "monophonic", a form like a puzzle of sound that each instrument is played independently according to a certain rule, unlike the "polyphonic" form, which emits a beautiful harmony from the ensemble to the space.</div>
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There are three large reflection plates at the upper part of the stage of the Ohga Hall, and it has a structure that makes it easy for people to hear their performances to the artists by reflection from the ceiling. Fugue's main body is the sound of single instruments so it is better to capture this early reflection and reinforce the music rather than capturing the rich ensemble sound that reverb in the halls. As a result of examining how it might be, as a result of such a ceiling oriented height miking, it was made.</div>
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At this time, I tried to arrange the height channel with MID - Layer and TOP - Layer as in two layers configuration. "This is because that the expression of the hemispherical surface would appear more dense." However, when playing back with 3 layers (base-ch, mid layer and top layer), the sound image floated upward and it failed. If you adopt such a three-layer composition, it may be possible to capture the sound field well if a distance between the layers is wide at a large recording venue.</div>
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4-2UNAHQ 2009 F. Schubert Death and The Maiden 2015 December</div>
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A: Height. Miking aiming at hall audience seats from the end of the stage</div>
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When I heard the string quartet "Death and Maiden" written by Schubert in his last years, I was impressed with the dynamics and huge momentum. How can we capture this momentum and ensemble with a height microphone? While listening to the sound at the stage while making a solo piano album [Dimensions], I noticed that the trajectory where the sound fly toward the audience seating. Even if I asked the hall’s staff, "It is a story that we have a feeling that sounds will fly when we are sound checks from the stage with rehearsals etc." So in this work, I decided to use the sound that the ensemble of "death and maiden" flies to the audience for the height. (I think that there is a question that it cannot be called a height microphone!) If you can see the figure, the four microphones placed at the stage end in the linear arrangement, the two extreme ends are placed in TOP - Ls / Rs, and the middle two are placed in TOP - FL / FR. This is miking, which I applied to the Ohga Hall a method to record 4-channel coastal wave when doing field surround recording.</div>
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4-3 UNAHQ 2012 P.I. Tchaikovsky Souvenir de Florence 2016 December</div>
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A: Height channel from the second floor balcony seat</div>
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How capture the sound of Ohga Hall? It is one of the attractions of album production while thinking about various things. This work is well organized and I thought that sufficient sounds would diffuse into the hall, and I set up the height microphone that placed it in the chorus balcony seat at the 2nd floor. If it is here, it will be a distance difference of about 20 m from the stage and a relationship that can be said to be a height-microphone is completed. The microphone used is a one point X - Y mic called Sanken CUW - 180. The one-point L-CH / RCH microphone capsule is expanded at 120 degrees in the direction of the stage and audience seats, respectively, and the localization is set to TOP: FL-Ls and the other to the TOP: FR-Rs.</div>
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Although I played the album on 9.1 CH, I got the comment from the person who listens to the concert frequently at Ohga Hall “This is the sound of Ohga Hall ". It was one work that got a feeling that sufficient sound can be captured even if taking a long distance, as the musicians grows bigger. At the next opportunity, we definitely wanted to record at the center of the second floor seat with a height microphone installed next project.</div>
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4-4 UNAHQ 2014 G. Bottesini Grand Duo 2017 December</div>
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A: Height microphone at the center of the second floor seat</div>
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With Bottesini's Grand Duo with Cb and Vl's solo part taken in.</div>
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Finally we were able to do a combination at the center of the second floor of the Ohga Hall. Cb and Vl solo 2 people and 5 people supporting it, Cb is also added to the back, so I thought that the sound in the hall can be captured well S / N, the sound of the hall audience side that enable to hall ambience more.</div>
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This is also used miking as a pair of Sanken CUW - 180 one - point X - Y As well as the previous recording of the orientation. The direction is directed towards the stage side and the audience side at 120 degrees. It is interesting to see how the difference that compared to the 2nd floor balcony seat comes out to the sound. The sound of mixing is well enveloped Ohga Hall.</div>
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It was an introduction and demonstration of the various musical compositions of classical recordings at Ohga Hall by the idea of a suitable height miking that UNAMAS approach. Here, even though it is the same recording venue. On the other hand, it is a normal miking that capture the best sound of the hall regardless of the style of the music and making it a height, and the production of such an approach may be fixed.</div>
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Personally, from the middle of 1980, I first made 3-1 surround by analog matrix, and after the 5.1 surround from 1990 to 2014, recently, Immersive Surround, which can constitute such a hemisphere surface field, I've been working on with long carrier and experience. I believe that accumulating experience and achievements obtained at each stage is also a very valuable asset and that it is the role of professionals to share it with many people through these activities. </div>
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<b>Author's Bio</b></div>
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Mick Sawaguchi</div>
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UNAMAS- Label C.E.O Fellow member AES and ips</div>
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Mick (Masaki) Sawaguchi graduated in 1971 in electronics from the Chiba Institute of Technology and joined the Broadcasting Engineering Department of NHK (Japan Broadcasting Corporation) as an engineer. </div>
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At 80’s, era, He was already a highly respected figure, both within NHK and in the Audio Engineering Society, having been an officer in the Japanese section since 1989. He has been taken a practical surround production workshop on his own [SURROUND <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">–</span>TERAKOYA] since 2002.Now it has 100rdwork shop. (<span style="color: #0433ff; text-decoration: underline;">http://surroundterakoya.blogspot.jp/)</span></div>
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He retired NHK2005 as MD of Program production Dep. After that </div>
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He established his own Music Label, which is [UNAMAS]. It was an early Boutique music label in JAPAN by HD (Hi Resolution recording and production with surround). </div>
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<span style="text-decoration: underline;">http://unamas-label-jp.net/</span><span style="color: #ff2600;"> and</span><span style="color: black;"> </span><span style="color: #ff2600;">UNAMAS4K at YouTube</span></div>
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Currently, He is president of Mick Sound Lab. </div>
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Received "Dawn" (UNAHQ - 2003) Excellence Award at the 20th Japan Professional Music Recording Award 2013<span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;"> by </span>High Resolution 2 ch. </div>
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In 2015, "The Art of Fugue" (UNAHQ - 2007) received the professional music recording prize surround category, "Death and the Maiden" (UNAHQ - 2009) in 2016 and 2017, awarded Best of High Resolution Surround category <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">and</span> Best Studio Award. Currently working on Immersive Surround music production since 2015. </div>
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Many published regarding surround sound productions as Japan, China and Korea. He often takes a time to have surround production workshop or seminar in ASIA. They give a nickname of him as [SURROUND SHOGUN].</div>
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Mick has contributed to many AES Conferences, presenting several papers on surround sound mixing and microphone techniques since 1991.</div>
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In recent work "Sound Design <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">·</span> Bible" Kenrokan Publishing</div>
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-2771418574352578222018-07-13T20:00:00.000-04:002018-07-13T20:08:30.290-04:00MQA Music production workflow for professional [ Technical seminar report ]<div align="center" class="MsoNormal" style="font-family: "Times New Roman"; margin: 0mm 0mm 0.0001pt; text-align: center;">
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<span lang="EN-US" style="font-family: "ms 明朝";">by Bob Stuart and Mick Sawaguchi<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Introduction<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">This is a seminar report in which held at InterBEE in 2017 November. On the consumer side, MQA (Master Quality Authenticated) technology has attracted attention for several years but since there was not much opportunity to introduce it systematically to the domestic production side, we had a session at the professional exhibition called InterBEE this time has been held.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">The session was held on the afternoon of November 15th, when Bob Stuart, MQA developer and C. E. O, came to Japan on MQA's basic technology and MQA-CD production applying it. I also focused on MQA's technology, continuously released albums in MQA format from UNAMAS-Label, and released the world's first MQA-CD [A. Piazzolla a Strings and Oboe] from OTTAVA-Records So I will introduce the overview as I participated in the lecture.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">1 Purpose of MQA coding and trend of music<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Bob: Thank you for coming all the MQA sessions. Today, I am very pleased that we have the opportunity to systematically introduce MQA to the professional people on the production side and what kind of application it is.</span><span lang="EN-US"></span><span lang="EN-US" style="font-family: "ms 明朝";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">First, let's see the relationship between quality and convenience in music software for the past 50 years.<br /><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Analog </span><span lang="EN-US" style="font-family: "system font regular g2";">·</span><span lang="EN-US" style="font-family: "ms 明朝";">open reel tape can say that quality is equivalent to master, but it is not easy to handle. The quality of the cassette tape is not good, but it can be handled easily. Although DVD-A and SA-CD are high quality, this also requires a special player. Internet stream delivery is extremely convenient, but the quality is not good.</span><br />
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<span style="font-family: "ms 明朝";">So what is the goal that MQA aims for? As the goal is to have high quality and convenience as shown on the right side of the figure MQA has developed three goals for this purpose. I will introduce MQA approaches in the following order.</span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">2 Studio Master for quality:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">MQA-De-Blur technology that emphasizes time axis information rather than frequency domain<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Music production by high bit / high sampling exceeding CD quality has been done and sound source has been spreading in the form of downloading. The figure shows the result of subjective evaluation of the relationship between various formats and the quality obtained by our top mastering engineers in Europe and America.</span><br />
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<span lang="EN-US" style="font-family: "ms 明朝";">From this result, we can see that no significant improvement in quality has been seen for the amount of data at 96 KHz sampling or later. In general, I thought that recording high-bit and high sampling improves frequency characteristics and improves quality. What we focused on is the result of a recent brain hearing study. That is, "accurate reproduction of time axis characteristics is an important factor to quality" beyond the expansion of the frequency domain. It is said that high bit / high sampling is being performed because it records this time axis information accurately as it makes high bit / high sampling.</span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">The time axis is accurate means that the precision with which the sound source can be perceived correctly improves, and in the case of music it means that the sound quality, localization, depth, distance feeling can be accurately reproduced. Human auditory detection limit is said to be 5 </span><span style="font-family: "ms 明朝";">μ<span lang="EN-US">sec - 8 </span>μ<span lang="EN-US">sec. This means that you can detect sound sources up to distances of 1 m - 2 m, centered on yourself.</span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">This figure shows the accuracy of the time axis characteristics at Fs: 48 KHz and 192 KHz.</span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">MQA developed with the goal of reducing the fluctuation of the time axis fluctuated in the workflow from recording to playback to the extreme limit and delivering it to the end user.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">We call this "De-Blur" [De-Smear].</span><br />
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<span lang="EN-US" style="font-family: "ms 明朝";">That is, it is a technology to reproduce the time axis of the digital signal A / D converted in the recording to the same time axis information at the D / A conversion at home.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">The accuracy of time axis reproduction of MQA is currently up to 10 </span><span style="font-family: "ms 明朝";">μ<span lang="EN-US">sec resolution, and in terms of distance it can detect distances up to 2.5 m.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">3 Coding technologies to realize convenience Audio Origami<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">In the era when LP and CD were mainstream of music software, I was able to enjoy music simply with just one format. When it comes to the age of digital audio, a vast variety of formats ranging from compressed sound sources to Hi-Res sound sources are flooding, and listeners are confused in the playback equipment. We will provide music in a standardized format as much as possible and consider how to do so in order to be of high quality and the result will be the method called Audio-Origami, which will be described later.</span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">The research, which became the basis, gained a hint from the analysis result of many Hi-Res music files. The average frequency of the music signal analyzed so far has a distribution of triangles we call Golden-Triangle.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">In case<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">The high-frequency region in the high-bit-high-sampling large data volume means that there are many margins. The principle of Audio-Origami is that by dividing this music signal area into three areas ABC, it folds the information which each has, while enciphering while reducing the total amount of data, and at the time of decoding it opens the folded data It is the idea of handling master quality with light data.</span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Sampling frequency Vs In the graph of sound quality, normal high sampling </span><span lang="EN-US" style="font-family: "system font regular g2";">·</span><span lang="EN-US" style="font-family: "ms 明朝";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Although the sound quality is gradually improved from 96 KHz if it becomes high bit, it becomes almost constant from 96 KHz in MQA encode </span><span lang="EN-US" style="font-family: "system font regular g2";">·</span><span lang="EN-US" style="font-family: "ms 明朝";">decode data. The graph of red is a graph when playing with existing playback equipment without decoding MQA data, but also in this case the sound quality is also improved as the blur of the time axis information is eliminated.</span><br />
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<span style="font-family: "ms 明朝";">●<span lang="EN-US">The graph on the upper right shows how far the blur on the time axis (Temporal Blur) is distributed. For normal high bit / high sampling etc. SF of about 1536 KHz is required to realize 10 </span>μ<span lang="EN-US">sec, but in MQA it is almost 10 </span>μ<span lang="EN-US">sec after the master of 192 KHZ.<o:p></o:p></span></span></div>
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<span style="font-family: "ms 明朝";">●<span lang="EN-US">The graph on the lower left shows the data transfer rate. In normal digital format, the high sampling rate and high bit will result in a huge transfer rate, which requires time for downloading, but the MQA file is stored at almost 1.4 Mbps. If it is the current network infrastructure, it can be handled as very light data.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">How do you embed B and C area signals to a signal level of -140 db or less? And how does De-Blur work? Although I will ask you a question like this, I will spend a lot of time when explaining this principle, so I will skip this time but since I can download MQA's WEB commentary and AES paper freely, I refer to it please. I think that an article translating my paper by Mr. Bike Suzuki to the JAS journal will be helpful.<o:p></o:p></span></div>
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<span style="font-family: "ms 明朝";">REF:</span><span lang="EN-US" style="font-family: "ms 明朝";">Stuart, J. R. and Craven, P.G., </span><span style="font-family: "ms 明朝";">‘<span lang="EN-US">A Hierarchical Approach to Archiving and Distribution</span>’<span lang="EN-US">, 9178, 137th AES Convention, (2014). </span></span><span lang="EN-US"><a href="http://bit.ly/JRS_AES" style="color: purple;"><span style="font-family: "ms 明朝";">http://bit.ly/JRS_AES</span></a></span><span lang="EN-US" style="font-family: "ms 明朝";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">JAS-</span><span style="font-family: "ms 明朝";">ジャーナル<span lang="EN-US">2015-11</span>月号(上記論文の和訳)<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Oppenheim, J. M., et al., </span><span style="font-family: "ms 明朝";">‘<span lang="EN-US">Minimal Bounds on Nonlinearity in Auditory Processing</span>’<span lang="EN-US">q-bio.NC (Jan 2013). arXiv:1301.0513 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Lewicki, M.S. </span><span style="font-family: "ms 明朝";">‘<span lang="EN-US">Efficient Coding of natural sounds</span>’<span lang="EN-US">, Nature Neurosci. 5, 356</span></span><span style="font-family: "ヒラギノ明朝 pron w3";">–</span><span lang="EN-US" style="font-family: "ms 明朝";">363 (2002). <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">http://dx.doi.org/10.1038/nn831 <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Jackson, H. M., Capp, M. D. and Stuart, J. R., </span><span style="font-family: "ms 明朝";">‘<span lang="EN-US">The audibility of typical digital audio filters in a high-fidelity playback system</span>’<span lang="EN-US">, 9174, 137th AES Convention, (2014).<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Stuart, J.R., </span><span style="font-family: "ms 明朝";">‘<span lang="EN-US">Sound Board: High-Resolution Audio</span>’<span lang="EN-US">, JAES 63 No 10 pp. 831-832; (October 2015) http://bit.ly/AES_Soundboard<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">4 Compatibility with existing media MQA-CD<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">MQA data is characterized by compatibility with existing formats. Here we introduce the workflow and various tools for encoding to MQA file. MICK SAWAGUCHI will introduce the workflow of MQA-CD production after this.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">5 Practice of MQA-CD production workflow</span><br />
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<span lang="EN-US" style="font-family: "ms 明朝";">From here, Mr. Mick Sawaguchi of UNAMAS-Label will introduce MQA-CD production practice and points of note. In UNAMAS-Label, the sound source (192-24 WAV format) of distribution downloading is also released at MQA, but in June 2016, the world's first MQA-CD was released from OTTAVA RECORDS, after that the CD of OTTAVA RECORDS, Since it is released as MQA-CD, here we introduce the workflow of MQA-CD.</span></div>
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<o:p></o:p>
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<span lang="EN-US" style="font-family: "ms 明朝";"></span><span lang="EN-US" style="font-family: "ms 明朝";"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">So, we prepared the actual sound source, so we added the same sound source for you.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">1 192-24 WAV Master<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">2 MQA-CD-MQA decode reproduction (decoded and played from 44.1 - 16 to 176.4 - 24)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">3 Normal playbacks without MQA-CD-MQA decoding (played as normal 44.1 - 16)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">4 Sound sources produced in normal CD format<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "ms 明朝";">Please listen with the type of. Even if you do not decode MQA-CD, since blurring of sound is improved by De-Blur, I think that you can hear that it is superior in localization and sound field reproduction.</span></div>
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<span style="font-family: "ms 明朝"; text-align: justify;">Bob: </span><span style="font-family: "ms 明朝"; text-align: justify;">Everyone, thank you very much. I also thank Bike Suzuki of MQA-JAPAN who interpreted my academic story.</span><br />
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-35854221619063583672018-04-22T17:24:00.001-04:002018-04-22T17:41:55.343-04:00Dummy Head Sound Production Tips and Pitfall<div align="right" class="MsoNormal" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: "Times New Roman"; font-size: medium; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: right; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<span style="color: #212121; font-family: "ms 明朝";">Mick Sawaguchi UNAMAS Label C.E.O</span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">1 Background of dummy head reevaluation <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">Recording with an old and new dummy head makes it easy to enjoy 3D space by targeting listening with headphones. I think that it will be a good tool for activation of mobile audio or smart phone recently and young people's headphones listening tendency, so I would like to introduce the dummy head recording from the production side. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">The idea of </span><span style="color: #212121; font-family: "ms 明朝";"><span lang="EN-US">a dummy head is to mimic the face of a person and record a small microphone into the ear part, can you faithfully reproduce the sound we hear on a daily basis? It started with the appearance of the prototype "Mr. Oscar" of the dummy head developed at Bell Research Institute in 1933. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">Especially in Europe, dummy head research is still continuing, and academic fields such as hearing research, acoustic field measurement, acoustic analysis, etc. Its characteristics are as described below.<o:p></o:p></span></div>
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● Popularization of mobile audio and popularization of digital music <br />
players called DAP, adapted to the needs of listening to music easily anywhere Earphone listeners have increased, software optimized for headphones is also increasing its presence. it is not necessary to prepare separate MIX for achieving both speaker playback and headphone playback with the same sound source, so it is possible to provide a target with a balance that is optimal for listeners limited only to headphones .<br />
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● Dummy heads that can be used for recording and production have been introduced due to recent improvements in dummy head main body structure and improved sound quality of small internal microphones. Dummy heads of the 1980s had limited models of small microphones that can be used for built-in microphones, and its sound quality was not a preferable sound quality from the viewpoint of engineers. <br />
Recently, the sound quality improvement of the miniature microphone is remarkable, and it is at a level that can be used sufficiently.<br />
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● Easily experience the 360 degree surround sound field, since the spreading feeling of the sound field is localized outside the head, even when listening for a long time it is less tired than the sense of oppression due to the regular head position of the normal 2 CH stereo sound. <br />
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●The sound quality improvement of headphones and earphones has also <br />
advanced in recent years and the market of playback equipment called <br />
high-quality DAP such as portable audio amplifier called Potaan and USB <br />
DAC connection etc. was formed and high quality playback became <br />
possible.<br />
<pre style="color: black; font-family: courier; font-size: 10pt; font-style: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; text-decoration: none; text-transform: none; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p>
</o:p></span></pre>
<pre style="color: black; font-family: courier; font-size: 10pt; font-style: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; text-decoration: none; text-transform: none; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> </o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">2 Utilize the features of dummy head <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> </o:p></span></pre>
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Compared to microphones commonly used in studio etc., what kind of features does the dummy head microphone have?</div>
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● Front Center/ behind Orientation is poor <br />
As dummy head researchers have pointed out, the dummy head is directly in front and the rear orientation is not good.<br />
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<!--[if !supportLists]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; mso-bidi-font-family: "MS 明朝"; mso-bidi-font-size: 1.0pt; mso-font-kerning: 0pt;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">It is excellent for the reproduction of +/- 45 degrees on the side </span><span style="color: #212121; font-family: "ms 明朝";"> <span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">centered on the ear and +/- 120 degrees above and below the head over the head.<o:p></o:p></span></div>
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt 18pt; orphans: auto; text-align: start; text-decoration: none; text-indent: -18pt; text-transform: none; widows: auto; word-spacing: 0px;"><!--[if !supportLists]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">Ambience recording of natural sound and music can express superior <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt 18pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">3D feeling.<o:p></o:p></span></pre>
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The features of the above two points can be applied to how to use dummy heads recording, Meanwhile, the dummy head is a natural sound recording in the field and the ambience of the music recording.When using it as a microphone, the spatial reproducibility of the dummy head is successfully used. <br />
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To faithfully reproduce the sound field of the site to be recorded or the concert venue, it is necessary to pay attention to noise and background noise as much. If the level of the sound source to be recorded is high, you can not raise the S / N ratio because it can be high, but in small organized music and natural sounds of soft sounds, you have to be careful about that point. Even in studio recording, the performer's scripting noise, the squeaking of the performer's chair, movement etc. are clearly reproduced, so it can be said that this is a two-sided nature with the characteristic of realistic reproduction.<br />
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">3 Utilizing the natural reproduction of 360 degrees <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">It is a way of using the superiority of reproducing the3 dimensional space possessed by the dummy head as it is, so there is nothing to pay particular attention to. The choice of where to install for the sound source is the most important.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; mso-bidi-font-family: "MS 明朝"; mso-bidi-font-size: 1.0pt; mso-font-kerning: 0pt;"><span style="mso-list: Ignore;">●<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">How to use as an ambience microphone in classical recording.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";"><o:p> </o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdw4FoQ6edGGFyC8489wctGcoNnzBQpS4k1Hacc_2dFs7CHPfhXEifVaa_RKuU-_24gtDwm2D7XxY_3PyFQZhLBQGwwlZe18U0dpfF9jTrPu_i-6HztnJVIX8fI0RE-7yiD0ucbvbCIts0/s1600/%25E3%2582%25B9%25E3%2583%25A9%25E3%2582%25A4%25E3%2583%2588%25E3%2582%259906.png" imageanchor="1" style="font-family: "MS 明朝"; font-size: 16px; margin-left: 1em; margin-right: 1em; text-align: center; white-space: pre;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdw4FoQ6edGGFyC8489wctGcoNnzBQpS4k1Hacc_2dFs7CHPfhXEifVaa_RKuU-_24gtDwm2D7XxY_3PyFQZhLBQGwwlZe18U0dpfF9jTrPu_i-6HztnJVIX8fI0RE-7yiD0ucbvbCIts0/s400/%25E3%2582%25B9%25E3%2583%25A9%25E3%2582%25A4%25E3%2583%2588%25E3%2582%259906.png" width="400" /></a></div>
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<span style="color: #212121; font-family: "ms 明朝";">●</span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">Instrumentation of studio recording OFF Mike, how to use as ambience.<o:p></o:p></span></div>
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">●</span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> Field Recording General: <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> <span lang="EN-US">Field recording is the same for normal equipment, but wind </span> <span lang="EN-US"><o:p></o:p></span></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> <span lang="EN-US">countermeasures are the basic, so dedicated wind shield covering the <o:p></o:p></span></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> <span lang="EN-US">ears of the dummy heads or even if there is still a shortage, please take <o:p></o:p></span></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> <span lang="EN-US">countermeasures against strong wind and rain are important.<o:p></o:p></span></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><span lang="EN-US">
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;">
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">4 </span><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> <span lang="EN-US">Dummy Head Drama Play production <o:p></o:p></span></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> </o:p></span></pre>
Drama production with a dummy head can be used not only to reproduce the feature of naturalness as described above but also various ways of using the front, rear, left and right, top and bottom localization from close-up to far-distance. <br />
<br />
● Use objective and subjectivity separately<br />
Among the dialogues, since the monologue is an effective expression when the headphone listener's in-head position is set, a normal microphone is installed at the center position of the dummy head to mix with the dummy head sound, a miniature microphone is dummy head There is a usage such as installing it in the center of, and using it together. In the drama, in the drama etc. where the story progresses by comparison of the subjective scene of the hero with the objective scene, it is possible to effectively use such contrast of the outward / inner rank like a POV.<br />
<br />
<br />
●Use vertical feeling and ON-OFF distance sense <br />
<br />
Since the vertical feeling and the sense of distance can be reproduced <br />
well, the situations such as the conversation of the two people on the <br />
roof and the downstairs and the conversation under the waterfall and <br />
the flow under the scene may also be reproduced by the scene in real <br />
physical situations It will be realistic if you arrange the performance in <br />
the form of up and down of the dummy head. Even in sound effect <br />
creation, you can also create space with that arrangement.<br />
<br />
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">●</span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> Clarification of front / rear localization <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> +/- 45 degrees from the center of the ears, as mentioned above, that <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> the reproducibility is good, as mentioned above, there are times when <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> you want to express the localization just in front of you or in the real <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> world with a drama or the like. In such a case, the listener will make a <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> judgment including the prediction by not finding the position from the <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> front or the rear from the beginning, but by making the preroll a little bit <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> and adding a sense of movement and ultimately making it the front or <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> backward localization So the recognition of stereotaxis is improved.<o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> <div class="separator" style="clear: both; text-align: center;">
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</o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"></span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p></o:p></span></pre>
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> </o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">●</span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> What about sound effects? <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> If you create a dummy head drama at an outdoor location, sound effects <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> other than speech can be used naturally as a sound caught by a dummy <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> head without discomfort, but if you want to express a sound effect with <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> intention, you need a little ingenuity . Foley material etc. If you place <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> Foley material sound in the necessary localization of the dummy head <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> and record it in the studio, Foley for the dummy head is completed. As <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> mentioned earlier, materials with low levels such as rusting clothes and <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> it may pick up the background noise inside the studio in three <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> dimensions, <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> so you should record at the Foley studio with a low NC value or when the <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> S / N ratio is severe, It is also necessary to forcibly choose not to record <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> with a dummy head. Plug-ins that applied HRTF conversion technology <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> that it sounds like listening on the dummy head has also appeared (many<o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> binaural coding etc.), but when it can not be convinced with .<o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> Realistic solution is that to play back the sound source once to the <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> studio with a speaker and to rerecord it with the dummy head with the <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> method of"Worldizing".<o:p></o:p></span></pre>
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For example, if you want to create a sound design such as an object falling from overhead, a flame running around 360 degrees, FLY-OVER going through the head over the missile group, set up 4 to 5 surround speakers Or you can play each sound source from up and down speakers, perform surround panning and rerecord with the dummy head installed at the center. There is no way to deteriorate in terms of sound quality, but by physically converting it to the HRTF transfer function via the dummy head, we can express the satisfaction better than the plug-in at present.<br />
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5 Balance attention point between on dummy head production and speaker playback <br />
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The dummy head has merit in that it can easily provide virtual reality to the headphone listener. As for the point of note when recording, microphone picks up every sound of 360 degrees with omni-directionality, so we recommend you to select a studio with less air conditioning noise. (Please use it if it is effective depending on the scene.) The dummy head is recommended without having to bother with noise due to the effect of location style recording outdoors.<br />
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The point of caution about speaker playback is that when you mix with headphones, the BG level such as music and bass sound and the ambience level such as reverb tend to be lower than the speaker playback, so please also check the balance by playing the speakers when mixing these scenes . <br />
The sound recorded by the dummy head will be sound whose 4-5 KHz is emphasized and the vicinity of 8 KHz is attenuated due to its structure. Although it is not a particular problem in headphone playback, consonants etc. of serifs are emphasized when considering playing back speakers, so it is also important to keep the peak component at the time of recording with peak limiter etc.<br />
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">6 What is suitable for a dummy head Production ? <o:p></o:p></span></pre>
<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"><o:p> </o:p></span></pre>
The reproducibility of the dummy head microphone is excellent if it is within 60 degrees with the ear tab as the axis. For this reason, the scenes such as the sound of the ear and oblique behind are effective so the story of the mystery or thriller psycho-touch is recommended. Adventure and spectacular stories are also genres that can be enjoyed with plenty of sound effects.<br />
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<pre style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Courier; font-size: 10pt; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0mm 0mm 0.0001pt; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; widows: auto; word-spacing: 0px;"><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">7 Dummy Head Mixing Tips<o:p></o:p></span></pre>
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As mentioned above, the dummy head is not good at reproducing the center of the front and just behind. For this reason, in order to effectively utilize the sound field, sounds and localization are also effective if narration by the ordinary microphone and monologue recording are used together. Since the height also comes out a little, you should try the relationship between the top and bottom of the dummy head, for example the first floor and second floor scenes. Tools such as pan pot for dummy head are not currently in practical use, so we have difficulty in producing sound effects using 360 degrees. (There is a mixing console for RSS and dummy head, but it is not practical anymore ...) Also, there are not many different sound effects libraries recorded by dummy heads, and music also has less software to meet these objectives, so please think about the content balancing these points etc.<br />
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Even in Japan, people who recorded natural sounds with dummy heads and made them into CDs, and in the USA, Cesky Label produces music of various genres recorded by dummy heads for DAP listeners. If you have the opportunity, please experience dummy head production that can easily reproduce 3D stereophonic sound.<br />
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";"></span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝";"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝";">Mick Sawaguchi</span><span style="color: #212121; font-family: "ms 明朝";"> <span lang="EN-US">Bio:Fellow member AES and ips <o:p></o:p></span></span></div>
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1971 Chiba Institute of Technology graduated from Electronics Engineering, the same year started to work in NHK as a drama mixer, he is in charge of winning works such as Arts Festival Grand Prize, Broadcast Culture Fund Award, IBC Non-Bull Doll Award, Vatican Prize Winner. <br />
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From 1985 He has been deep involved surround production. He has been respected as "Surround Syogun". Since 2001, AES and Southeast Asia focused on workshops, seminars and technical presentations, promoting Asian surround production. SurroundTerakoya opened for promotion from 2002. Since 2007 he has launched the high-quality music production label UNAMAS label and is doing high-quality music distribution. The 4 times award winning on Japan Pro Music Recording by Hi-Res music .From 2015, focusing on immersive surround sound.<br />
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<a href="http://unamas-label-jp.net/">http://unamas-label-jp.net</a>. <br />
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-56149905374781299792018-01-09T07:12:00.001-05:002018-01-09T07:35:41.659-05:00Immersive surround 9.1 channel production 「UNAHQ 2011 A.Piazzolla by Strings and Oboe」<div class="MsoNormal" style="text-align: right;">
<span lang="EN" style="color: #212121; font-family: "ms 明朝"; mso-ansi-language: EN; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: Courier; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-fareast;">By Mick Sawaguchi C.EO UNAMAS-Label</span></div>
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<span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt; text-align: right;">[ Introduction ]</span><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt; text-align: right;"> </span></div>
UNAMAS label's 9CH immersive surround approach is 6th work in this work from "Four Seasons" released on 2014-06. By Recording Miking of different height and channel each time, it is able to verify the difference of sound of various height information. The big topic at the German Ton Meister Conference in Cologne in 2016 was the effort to surround play environment with immersive surround and binaural coding. This work .introduces the behind-the-scenes produced 192-24 9.1 ch. The album which is said to be a tango 's heretics "Tango composer who can not dance" A. Strings and Oboe masterpieces of Piazzolla.<div>
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<span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;">[ 1. Album Concept ]</span><span style="color: #212121; font-family: "ms 明朝"; font-size: 12pt;"> </span></div>
Since UNAMAS label is a privately owned boutique label, the biggest advantage is that I can realize from planning to production without scooping up the approval document! ! This time, we worked on the following concept as the next work of "Death and the Maiden" released in June 2016. In 2016, Astor Piazzolla celebrated its 95th birthday. I feel "SOUL"by Piazzolla music which combines the European classics with the essence of Jazz from childhood that he spent in New York, taking into account the tango tradition from his music. As Jazz originally started as a dance accompaniment and BGM at the club and then evolved into music for independent appreciation, surely he also pursued sublimation of tango, and still gives "SOUL" to listeners I think .<br />
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I thought Piazzolla's music needed more direc energy than brilliance, first by searching for the best recording venue for expression. Recording of classical genres so far has been carried out on the home base of Karuizawa Oga Hall, but in this work, I thought that it would be too brilliant sound, first I came up with a studio that is Nihon Onkyo Engineering Sound Lab (AGS studio) which recorded a piano solo at Jun Fukamachi UNAHQ 2003 "REIMEI". If it is realized it will be the first time in 6 years. This is not a recording studio at the research facility which adopted the diffuser developed for the purpose of "recreating the sound of the forest" called AGS, The Piazzolla 's tango is a bandneon lead, but in order to realize it in the UNAMAS style .I used Ob with strings ensemble as lead and depending on the song Vn also takes charge of lead.<br />
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<span style="color: #262626; font-family: "ms 明朝"; text-align: center;">UNAMAS A.Piazzolla Septet</span></div>
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It is an album that became a big challenge as a label as to how the powerfulness different from the classic series at Oga Hall is reflected in this studio. Mr. Tsuchiya of arranging finished with collecting various existing scores and sometimes by ear copies from the original songs because the original score of Piazzolla is not quite perfectly left.<br />
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<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">[ 2. TECHNOLOGY ] <span style="mso-spacerun: yes;"> </span></span></pre>
The main system configuration that UNAMAS label currently introduces is similar also in this work, with the digital microphone as the main microphone, with the optical MADI cable from the RME - digital and analog mic pre to the ambience and the height –CH as analog microphone set IN the studio .Then it Transferred to the monitor room, where the MADI signal is distributed in two and recorded in the main DAWA Pyramix ver 10 and MAGIX Sequoia DAW. In addition, we are also doing anti-vibration of all equipments. battery drive and EMC noise introduced from UNAHQ 2009 "Death and the Maiden" released in 2016.</div>
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This time AGS will record string instruments in the space that was set up on the whole Mr. Sakiyama of Nihon Onkyo Engineering and his staff give an idea installed acrylic reverberation plate around AGS and reinforced the sound of the high frequency.<br />
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<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">[ 3. Height for Making Immersive Surround Surround ]</span></pre>
Unlike the Ohga Hall, the sound condition of this time is not that we can reproduce rich sounds with height CH. I studied how to catch Height CH in the studio space, raised the stand to the very end of the ceiling and set the SANKEN CUW-180 XY pair to the left and right there. If you hear only the height CH, it is a dry sound compared to the hall, but added a little surround reverb (FLUX IRCAM VERB 3) at MIX.<br />
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<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">[ 4. From MIX to Master ] </span></pre>
<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">According to the release format when editing is over <o:p></o:p></span></pre>
<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">* 2 CH (normal 2 CH and MQA 2 CH) <o:p></o:p></span></pre>
<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">* 5.1 CH Surround <o:p></o:p></span></pre>
<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">* Auro 3D surround for HPL-9 <o:p></o:p></span></pre>
<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">I set separate Pyramix edit screens and do the best MIX for each, so-called Down MIX is not used.</span><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><o:p></o:p></span></pre>
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<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">[ 5. About PCM recording and TP ] </span></pre>
In Pyramix v-10, has a fanction of final check with loudness and dynamic range so far, a tool that can monitor with 2 CH and 5 CHMIX, such as display of TP (true peak) effective for preventing distortion, was introduced. At present AES Recommendations AES TD 1004.1.15-10 recommended streaming music distributionby Internet operation plan has been issued, TP is limited to -1.0. In conformity with this recommendation, it turned out that theTP peak level of MIX which I control around 1.0 -1.4 TP db, For reference, I tried checking various music of J-POP and another company label, but MIX such as TP = O-0.2 is also seen in Hi-Res music classic and so on.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-c7YxHqAYbFwYFLdQvSQj4Fj5U4KhC1WVWUKP1_BPN_ap5wzXfgq0L4UYyU8hSVi1ydASQac8fAnceLWBSiTLGLr9lrgCbFvfa-akZ8H58FKQpFJ28r-aQYbhwemm5urJSc1yBLTNoXV/s1600/J-POP+TP.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="887" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-c7YxHqAYbFwYFLdQvSQj4Fj5U4KhC1WVWUKP1_BPN_ap5wzXfgq0L4UYyU8hSVi1ydASQac8fAnceLWBSiTLGLr9lrgCbFvfa-akZ8H58FKQpFJ28r-aQYbhwemm5urJSc1yBLTNoXV/s320/J-POP+TP.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TYPICAL POP MIX TP</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-obS18MO1RoQE6fgaZ1Cf54Tp6UulD3sML_YLmLvq9X5egfiBYRkWMi4wd58tTcRd0tWdtsHUf2Hsr_l0cUlglb9DRBRm6gp1aJRr69GLO7NS8zVOJ6o1RIcS4eRLUiaWAJ1cqZXZ9mxy/s1600/PIAZZOLLA+TP.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="887" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-obS18MO1RoQE6fgaZ1Cf54Tp6UulD3sML_YLmLvq9X5egfiBYRkWMi4wd58tTcRd0tWdtsHUf2Hsr_l0cUlglb9DRBRm6gp1aJRr69GLO7NS8zVOJ6o1RIcS4eRLUiaWAJ1cqZXZ9mxy/s320/PIAZZOLLA+TP.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">UNAHQ 2011 FINAL MIX TP</td></tr>
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<pre style="margin-bottom: .2pt; margin-left: 0mm; margin-right: 0mm; margin-top: .2pt;"><span lang="EN" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">[ To the end ] </span></pre>
This work has released 2CH / 5CH surround version in 2016 - December, and HPL - 9 and MQA version in January 2017. Moreover, since January 2017, we were able to realize worldwide distribution with HRA distribution site that based in Germany. The listening environment is rapidly changing from SPOTYFY and I-TUNE MUSIC to TI-DAL, NATIVE DSD and Hi-Res delivery and headphone listeners. I think that the diversity of master sound sources will continue to expand.</div>
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-23297109271442609732017-12-21T07:36:00.001-05:002017-12-21T07:36:24.215-05:00Taketomi IslandDSD 11.2 / PCM 192 - 24 Field Surround Recording and Music Production<div style="color: #2c2c2c; font-family: Osaka; font-size: 12px; font-stretch: normal; line-height: normal; text-align: center;">
The Sound of Taketomi Island <span style="font-family: ".sf ns text"; font-stretch: normal; line-height: normal;">–</span> Okinawa</div>
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DSD 11.2 / PCM 192 - 24 Field Surround Recording and Music Production</div>
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Mick Sawaguchi C. E. O UNAMAS-Label</div>
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Introduction </div>
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In the high-res music production UNAMAS-Label, we have produced 5 albums so far with the concept of "surround scape" which collaborated with music surround and field recording which is my author's life work. </div>
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This album is the sixth album, and the recording was done at "Taketomi-Island" on part of Yaeyama Islands OKINAWA from February 13 to 16, 2017. This island is also famous as an island that carefully inherits the traditional culture of the Yaeyama region, such as many folk songs, old songs, performing arts, traditions and customs. In this album, we planned the recording of roots music that paerforme with San-shin and Vocal mainly about Taketomi Island and spent all the day we performed field recordings at midnight when we finish music recording at day time since became quiet. </div>
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Recording is aimed at ecological music production and it is compact, but since it did PCM-192-24 surround and DSD 11.2 direct 2CH recording for the first time as practical use, we will introduce a backstage behind it.</div>
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1 Geography and culture of Taketomi-Island</div>
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Taketomi island is the small island on the left of Ishigaki-jima Island.</div>
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As you can see from the map, it is located in the Yaeyama Islands in Okinawa Prefecture, and from Ishigakijima, the center of the Yaeyama region, a population of 365 people (about 6 km) on a high speed ship with a speedboat (about 6 km). The flat island made from raised coral reefs leaves the original landscape of Okinawa like the red tile in the flat shop, the stone wall in the coral, the white sandy road that crushed the coral, and now it is said that it came to "Ryukyu-Landscape" anywhere in Okinawa It is a scenery that makes me realize that. The whole is designated as Iri-omote Ishigaki National Park as "an island of cultural landscape fostered by the natural environment", and the largest coral reef in Japan, stone reef lake, spreads to the west. </div>
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In 1986, the "Taketomi-Charter" based on the conscience of the residents was enacted and the five principles for protecting the landscape and nature of the island were stated as "not selling", "not soiling", "not disturbing", "not breaking", "living" It is an island where local governance by residents is established.</div>
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2 field recording </div>
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2-1 Recent Trends </div>
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Field recording is not limited to 2CH stereo recording such as stereo and dummy head recording, and recording in various surrounds is also done. The big chance is mainly a system using a one-point surround microphone and a portable recorder compatible with 4CH ~ 8CH from the needs of 3D sound such as VR AR. In 3D surround field recording, there is no decision as to what kind of miking is effective, but everyone who is doing 3D field recording devises themselves and combines 4 recorders with 2CH built-in microphones in upper and lower arrays 8CH recording .Or We can see examples of real 4CH ~ 8CH microphone arrays assembled from upper and lower.</div>
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A one-point surround microphone corresponding to a new AMBISONIC has appeared, as this trend of 3D sound boosted also to the one point surround microphone applying the AMBISONIC coding technology that was used mainly in Europe. In the United States, a brisk manufacturer called Eigenmik has released a 32-channel one-point microphone, and a well-established Sennheiser also released a new product of a one-point surround microphone too.</div>
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2-2 Field recording in Taketomi Island </div>
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The authors' field recording system does not record natural sounds as ambience, but from the feeling that we want to record surround sound as a realistic sound image, the main microphone is based on 4CH which used the Sanken CUW-180 XY one-point microphone for the front and rear I am doing it. CUW - 180 has exclusive basket - type windshield + windjammer, so it is safe even at the beach and so on. Since products of other companies do not have heavey duty windshield accessories that have kept their attention to it, we must search for a draft shield that conforms to the specifications separately. The recorder is a 4CH recorder called SONOSAX SX - R4 based on the recording in 192 - 24. Late night recording scenery is like this.</div>
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In the recent ZOOM F - 8CH recorder etc, the internal memory is up to 512 GB and its capacity is large and safe for long - term field recording, but the SX - R 4 is a type that mirrors the 60 GB memory with HD and CF so long - range location It is necessary to bring a PC separately and back up the data and empty the memory.</div>
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In field recording in surround, we have to find a point where it is likely to be able to record a uniform sound field at 360 degrees, not only in the front, so we did a location scouting in Taketomi Island during the day to find out where the sound is Keep on going to the site late at night I recorded. where the traffic (from the high speed boat using Ishigaki Island as a hub flies to the Yaeyama Islands every 30 minutes so that the engine sound roars throughout the island and you can not record during the day!) Since it is flatland coral reef raised island, I fixed 2 deferent locationpoints.</div>
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● Beach of coral reef rocky beach and sandy beach behind a tree.</div>
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● Tree trees and winds they were deco, banyan mullet, banana field is.</div>
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Surround miking at the beach How to capture the sound of the beach is the person who records. The author prefers a sound field that brings out equipment up to the offshore a little bit if it is a shallow beach and like a sound field where the waves expand at 360 degrees, but the coast of Taketomi Island has many coarse rocks of coral reefs I installed a microphone on the edge and lowered the front toward the waves and the rear microphone aimed at the reflected sound of the waves facing upward. In another place, the back of the sand beach was trees with trees, so the front and rear were same level with the front, the front was a wave sound, and the rear recorded the contrast such as the wind sound of the trees and the voice of the local owl.</div>
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A tree roaring In the trees with thick leaves of Deago and mangroves, we found equipment surrounded by trees, set up the equipment at the point where you can hear the wind and trees roaring at 360 degrees, and both the front and rear It is installed upward. In the banana field and prairie, etc, I recorded with aiming at the sound the leaves shake. With a combination of independent microphones that are not a one-point microphone, it is advantageous to have a change degree of freedom from horizontal installation to upward, downward, or a combination of these depending on the situation of such a recording location. The photos to introduce are mostly photographs taken during the day's location hall, but please refer to it.</div>
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3DSD 11.2 Direct 2 CH and PCM 4 CH Music Recording </div>
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Roots music of Taketomi Island has a simple composition of basic Three lines San-Shin and songs, but this time, Mr. Maki and Yamazaki of the line producer have changed Ocarina, Flute, Ohayashi and Taiko We recorded a total of 11 songs at the public hall . In addition to the 192-24 PCM recording by Pyramix DAW which I constantly use, this time, the system prepared by music recording is DSD 11.2 direct 2CH recording by RME's new product ADI - 2 Pro I did it in parallel. The recording system diagram is shown below.</div>
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My Miking of PCM recording is the main Sanken CO - 100 KX 2 CH + Ambience Sanken CUW - 180 X 1 2 CH This is eventually records a lot of air feeling like natural sound surround . One DSD 11.2 is a simple configuration of direct DSD recording from the interface of RME ADI - 2 PRO using unidirectional A - B pair BLUE Bottle Rocketx 2 so as to be established only by music. Especially regarding Asadoya-Yunta , listening to the story of Mr. Maki that all songs have not been recorded due to time limitation so far, let's record all the songs I made a complete recording up to the 23rd peace.</div>
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Music by</div>
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Shinobu Maki (Vocal, Sanshin, Dora)</div>
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Yukie (Flute, Ocarina, Hayashi)</div>
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Tadashi Nehara (Taiko, Hayashi)</div>
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MUSIC LIST</div>
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Hamabata-----14’58”</div>
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01 Asadoya-Yunta</div>
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02 Toebalerma</div>
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03 Takidun-Watashi</div>
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Usukaji------11’51”</div>
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04 Michi-Uta</div>
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05 Densa-Fushi</div>
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06 Syonkane-Guwa</div>
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Kaji----10’09”</div>
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07 Medetai-Fushi</div>
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08 Akatasundunchi</div>
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09 Nuchigafununigai</div>
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Hikinuyu---13’40”</div>
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10 Tukinukaisya</div>
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11 Asadoya-Yunta with Ohayashi</div>
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4 From the one stop editing in the same DAW of the DSD file to MIX </div>
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There was not a standard work flow which can produce one stop from the recording to the final master so far for the DSD recorded sound source. (If you record with DXD from the beginning, you can complete it with a one stop.) Therefore, experienced people also give various wisdom in how to compromise with sound tracks recorded by multitrack, editing OK take of music, reverb addition and processing It is the present situation that it is. Since it was upgraded to Pyramix ver-10, it became possible to create a DSD master with a one-stop workflow with the following two types.</div>
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Proposed-01 All done with PCM DXD converted final data, converted to DSD by DSD converter </div>
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Proposal-02 At the stage of MIX DOWN, use the "CD- SA. CD data creation" function, create the required file format at a stroke by using the function "Album Publishing" in Generate CD Image . </div>
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In the case of original recording with DSD, we used the plan -02 to create DSD data in one stroke using "album publishing" function, </div>
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Summary</div>
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In accordance with the diversifying listening style, the distribution master provides files using 2H and MQA coding files as well as binaural coding technology HPL for headphone audiences, in addition to surround . </div>
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In Japan, from e-onkyo music also,worldwide, </div>
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https: //www.highresaudio.com/en </div>
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furthermore DSD 2CH master will be released from RME Premium Record and MQA-CD as OTTAVA so please enjoy in various formats . </div>
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-24467030320897738362017-12-21T07:36:00.000-05:002017-12-21T08:14:01.709-05:00Contigo en La Distancia " 192-24 9ch Immersive Surround Production BTS<div align="center" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: center;">
<span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; mso-ascii-theme-font: minor-fareast; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">"Contigo en La Distancia
~ even if far away ~"<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; mso-ascii-theme-font: minor-fareast; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">192-24 9ch Immersive Surround
Production BTS<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; mso-ascii-theme-font: minor-fareast; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">By Mick Sawaguchi C.E.O
UNAMAS Label. Mick Sound Lab<o:p></o:p></span></div>
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"Contigo en La Distancia ~ even if far away ~" of the Hi-Res music production label <br />
RME Premium Recordings operated by Synthax Japan was released on June 20, 2017. <br />
In this work, recording with the violin and Apf 's duo formation album using Gut strings was done at the Mitaka Art and Cultural Center "Wind Hall" on November 29 - 30, 2016.<br />
I participated as an engineer in the production of RME Premium Recordings,<br />
so I will introduce behind the scenes of 9CH Surround Production in "Wind Hall".<br />
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This Album has awarded The 24th JAPAN MUSIC RECORDING AWARD as Grand Prize and Best Mastering Studio by Hi-Res Surround category on 6th December TOKYO JAPAN.<br />
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<pre><span lang="EN-US" style="font-family: "ms 明朝"; font-size: 12.0pt;">1-2 <span style="color: #212121;">Naoki Kita Profile <o:p></o:p></span></span></pre>
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After graduating from Kunitachi College of Music,<br />
Then studied under tango violinist Fernando Suarez Paz in Argentina.<br />
After that, joined Kirin Tsunodetsu [gt], Yuji Tsuyoshi (oud), Keigo Minigawa (Vc) and so on.<br />
Starting from 2011, He will start Kita Naoki Kita Quartet as the main project.<br />
The unique world created by the fusion of tango and various music is highly appreciated by its deep spirituality. Majority also participated in the project of Toru Saito (Cb) focusing on improvisation. Collaboration with dancer and Asian traditional music player, there are many performances activities in Europe.<br />
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<pre><span lang="EN-US" style="font-family: "ms 明朝"; font-size: 12.0pt;">1-3 <span style="color: #212121;">Nobumasa Tanaka Profile <o:p></o:p></span></span></pre>
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Starting at the age of 4, he changed to a classical piano at the age of 16, including an electronic organ.<br />
Department of Music, Kunitachi College of Music. Studied classical piano with Yuko Odan, jazz piano with Eiichi Fujii, Kazuko Hashimoto, Masahiko Sato.<br />
1993 Yokohama Jazz Promenade was awarded the Grand Prix and Individual Prize Best Player Award at the first competition. The freedom and improvised performances that we create with co-stars are not only in Jazz format but also in various ways. The solo piano by original and original arrangement is highly evaluated as unparalleled one and only performance. Beginning in 2014.<br />
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2 Production Concept <br />
2-1 ART<br />
Leader Naoki Kita is a person who is approaching taking Jazz's improvisation in mind while tango as a base and spreading free image. Tanaka Nobumasa is a Jazz pianist and has a reputation for accompaniment of songs. In this work, it is a Duo album that supports the supple music of Latin American tango and bossa nova with free improvisation like Kita style.<br />
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The balance is determined depending on what kind of dialogue the two people will talk about how to understand the performance of the duet. Are they bumping energy with each other equally? Or are you expressing yourself by point while sustaining the reed instruments? This time, I chose the latter relationship. How can I express these two people in the hall? </div>
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I participated in a rehearsal held before recording and examined the design drawing of the sound field. "Noble Son Whistling a Flute on a Single Boat on the Lake Surface in the early morning" That was the image of this time. In other words, it is a composition called Vn as a spot on a slightly larger Apf that incorporates a lot of sounding of the hall. Based on this, we set up the placement of the stage and the miking.<br />
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<span style="background: white; color: #2d2d2d; font-family: "ms 明朝";">2−2<span lang="EN-US">TECHNOLOGY<o:p></o:p></span></span></div>
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The RME - MICPRE - MADI transmission, which is familiar even in UNAMAS production as a<br />
classical hall recordings. The main digital microphone KM - 133D this time, 3 Apf L - R - C, 2 Gut string Vn close pairs, Ls - Rs and top height microphones are CO-100K and CUW-180. Also EMC noise treatments and equipments of the stage and monitor room supply from the all battery.<br />
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If it is just a normal stereo recording, arrange such that the main microphone is installed slightly from the somewhat downward to the center position, with the arrangement of Apf slightly badly behind the stage, adhering to the general concert format and pointing towards the stage Vn It will be considered.<br />
However, since the whole sound field in this work is based on 2CH - 5CH - 9CH,<br />
I thought that I wanted to establish the line of L - C - R in parallel with the stage, not diagonally.<br />
This work is an improvisation incorporating the Jazz essence, I thought that arranging the breaths in the same way, looking at each other's eyes, so I thought that it would be nice to arrange the breath so I put it somewhat before the usual concert stage arrangement Let Vn be the place where the pianist and the line of sight oppose behind Apf. This was also asked to Mr.Kita of Vn who participated in the preliminary inspection at the venue beforehand, and Vn also performed the test at the place, so it would be fine. It was confirmed that I was able to implement it.<br />
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<div>
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The Vn of Gut strings is very delicate, and in ordinary live recording etc., <br />
With a contact microphone attached. However, because it is a session recording at the precious hall, I will set up a digital mic to capture the detail of the Gut string.<br />
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<br />
2−3ENGINEERING<br />
How do you realize 9CH height surround with duet? The "wind hall" had the reverberation time of 1.8 seconds at the time of vacancy, and had the same characteristics as Karuizawa Ohga Hall, which are the fixed point of UNAMAS label recordings. When I rehearsed I tried to listen to the sound by moving the audience seat but it was a very uniform spreading characteristic. I planned to install a microphone for the height at the second floor, but I heard the rehearsal and the volume of the Gat string was so soft, that I could not record S / N well in the reverberation, I changed point that the stage end Height mics which aims at audience seats. <br />
Ls-Rs is Sanken CO-100 K x 2, Top Front-L.R Top Rear Ls.Rs is CUW-180 x 2.<br />
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We used Apf diffusion panel this time. Because I wanted to fly Apf's extended sound to the hall. I used it also in the Ohga Hall where I recorded the previous work "Dimensions" but I installed a silk diffuser made by Acoustic Revive under the piano. Mr. Yasushi Yasuda, who was in charge of tuning, was also interested in "I'd like to use it at a concert."<br />
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3 2CH / 5CH / HPL-9 / MQA production <br />
The number of recording channels this time is 12CH. Since MIX independently according to each format,<br />
so-called DOWN MIX is not done. Especially 2CH MIX uses only the minimum necessary microphone, because phase interference will occur when all microphones are used and the sound becomes muddy.<br />
Then 9CH MIX follows 5CH MIX and MIX is done with less CH number. Some people do 9CH and 5CH first and then 2CH MIX in the last, I think that which one is not the correct answer, I am starting from 2CH MIX, because It is easy to check the balance of each CH collectively, so I started with 2CH MIX.<br />
<br />
Since surround MIX produces sounds from all CHs, it may be misunderstood to balance the channel's satisfaction by itself. The localization of this duet is only ambience of the hall because the real sound is only at the front, so surround will be. Vn recorded with a narrow A - B pair, so I stereo a little inside with L - C - R pan and spill a little real sound to the hard center. Vn can be localized to the hard center with a real sound monaural if recording a monaural of Vn with a single monaural, but in this work I recorded it with an A - B pair in order to capture the detail of the Gut string.<br />
<br />
We will create an HPL format for binaural rendering when the master of 5CH and 9CH is completed, but this time we will verify which one of 5CH master and 9CH master is binary rendered and effective for headphone playback We asked RME Premium Recordings to listen to the sound source that was test rendered in two types and we got opinions and finally we made binaural rendering from 9CH master and made it HPL-9.<br />
<br />
As for MQA coding, this work was also released as MQA-CD from OTTAVA Records 192-24 2CH master converted to 176.4-24 of the CD family on the Pyramix, which sent data converted to MQA 44.1-16 Flac. <br />
After receiving the data, after that, it creates a DDP file, which is an ordinary routine and becomes a CD press. The point to note is that once MQA Flac has become data it will not do any process afterwards. Be sure to do everything before MQA encoding and once you have MQA data, do not do anything! It is a point to note.<br />
<br />
4 DSD 11.2 /PCM 768 KHz direct recording by first trial ADI - 2 PRO<br />
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In this recording, recording was performed at DSD11.2 and PCM 768 kHz as test operation using the ADI - 2 Pro that was compatible with DSD 's recording and playback for the first time as RME,<br />
and was done by Syntax Japan. Stereo one point microphone (Blue Microphones) standing on the stage is transmitted to the control room as it is, recorded by two ADI - 2 Pro.<br />
It was recorded as a document to verify the difference in sound quality between DSD and PCM.<br />
The results of these tests are realized in the form of releasing from RME Premium Recordings as the<br />
DSD 11.2 first album in roots music recording in Okinawa Taketomijima half a year later.<br />
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<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">There are also three PVs on YouTube, so please have a look. </span></pre>
<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><a href="https://www.youtube.com/watch?v=tM8rCdB67GM">https://www.youtube.com/watch?v=tM8rCdB67GM</a> </span></pre>
<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><a href="https://www.youtube.com/watch?v=RPKlDQznf3o">https://www.youtube.com/watch?v=RPKlDQznf3o</a> </span></pre>
<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><a href="https://www.youtube.com/watch?v=KqCWDlBOQRk">https://www.youtube.com/watch?v=KqCWDlBOQRk</a><o:p></o:p></span></pre>
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<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;">Production staff<o:p></o:p></span></pre>
<pre><span lang="EN-US" style="color: #212121; font-family: "ms 明朝"; font-size: 12.0pt;"><o:p> </o:p></span></pre>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Recording Date 29<sup>th</sup>-30<sup>th</sup> November 2016 at Mitaka
KAZE-Hall<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Producer Naoki Kita<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">A&R Michiko Mikata<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Venue Organizer Seiji Murai<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Recording Engineer: Mick Sawaguchi <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Assistant Engineer Tomomi Aibara<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Mix/Mastering Mick Sawaguchi <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Recording Equipment: <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Digital Mic KM-133D as MainMic (Sennheiser JAPAN K.K) Sanken CO-100KX2
Sanken CUW-180X2<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; font-family: "ms 明朝";">MADI
Rec by RME DMC 842/Micstasy M/MAD face XT/Fireface UFX+/MADI Router (Synthax Japan
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">DAW: Pyramix V-10 192-24 Rec-Master. Magix Sequoia V-13<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Peripheral Facility: Kiyotaka Miyashita (JINON)<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Battery Power Supply: PowerYIILE PLUS (ELIIYPower co.ltd) <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Cover Photographer: Toru Tsuji Photographer: Tadao Hosomi<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Art director: Nao Masaki (Lifedeco) <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Designer: Koichi Fujimoto (fujimotogumi)<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Special Thanks: Ryuichi Sasaki (OTTAVA) Norman Renger (Pixel Arranger)<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #2d2d2d; font-family: "ms 明朝";">Online High-Resolution music distribution <a href="http://www.synthax.jp/RPR/">http://www.synthax.jp/RPR/</a></span></div>
Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-57655853863274837222016-03-17T09:00:00.001-04:002016-03-17T17:48:39.006-04:00Hi-Res Surround Recording of Tonkunstler Orchestra [Special report]
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Kazuya Nagae </span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><strong>1. Overview</strong></span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span class="Apple-style-span" style="line-height: 18px;">This is a report on the session recording of Ein Heldenleben (A Hero's Life) and Der Rosenkavalier (The Knight of the Rose) by Richard Strauss, performed by the Tonkunstler Orchestra with their new chief conductor, Mr. Yutaka Sado. The recording took place in Grafenegg, a suburb of Vienna in October 2015 and the recording will be released as a CD and also in 192kHz 24bit high resolution stereo and surround. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Based in the State of Wien (Vienna) and the State of Niederösterreich (Lower Austria), the Tonkunstler Orchestra uses the Großer Saal at Wiener Musikverein, the Festspielhaus in Sankt Pölten and the Outdoor Theater and Auditorium in Grafenegg as its activity bases. The orchestra's name originates in Tonkünstler-Sozietät, an association organizing concerts in Haydn's age. Its name became Verein des Tonkünstler-Orchesters in 1907, and the orchestra premiered Gurre-Lieder by Arnold Schoenberg. It is a prestigious orchestra familiar to people in Vienna. As Mr. Yutaka Sado became its new music director, the session recording took place in time to his inauguration. Located in the State of Niederösterreich, approximately 60 kilometers northwest of Vienna, Grafenegg, where the recording took place, is famous for Grafenegg Castle and white wines. Since 2007, Grafenegg Music Festival has been held every summer. Its guest performers in the past include NHK Symphony Orchestra and Berlin Philharmonic Orchestra and it has become established as seasonal charms of the summer in Austria. The festival is held at an open-air stage called Wolkenturm (Tower of Cloud), built with modern design as opposed to the design of the castle in an extensive garden neighboring the Grafenegg Castle, and the Auditorium, where this recording took place. Tonkunstler Orchestra has been the orchestra in residence at the festival. </span><br />
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<strong style="font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><strong style="font-family: Times;"><span style="font-size: xx-small; font-weight: normal; line-height: normal; text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 18px;"> Grafenegg Wolkenturm</span></span><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"> </span><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">© Alexander Haiden</span></span></strong></span></strong></div>
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<strong style="line-height: 18px;"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">3. Recording Team and the Label</span></strong></div>
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The recording was conducted by Mr. Florian B. Schmidt and Mr. Aki Matusch of Pegasus Musikproduktion, a music recording/production company in Berlin. Mr. Schmidt is an active Tonmeister with over 20 years of career in Berlin. Not only he has been engaged in live broadcastings of the German Public Broadcaster, Deutschlandradio Kultur, he has also flourished as master disc producer for Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonieorchester Berlin, RIAS Kammerchor, Dresden Kammerchor, Württembergisches Kammerorchester Heilbronn etc. Mr. Matusch earned Diploma of Tonmeister at Berlin University of the Arts in 2011 and has been actively engaged in many recording productions with various labels and live broadcastings in Berlin. The orchestra established its original label and this recording was released as the first release of the label. The production method was not in the conventional style in the field of record business, but it was planned from a flexible point of view as if an orchestra manager programs a concert. Furthermore, the recording team made a proposal not only to consider the release of a CD but also to eye the possibility of distributing high sound quality stereo sound and surround sound. Accordingly, the recording was executed with 192 kHz/24 bit high resolution surround.</span><br />
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<strong style="font-family: times, 'times new roman', serif; line-height: 18px;">4. Location of the Recording</strong></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">The recording took place at a concert hall with a seating capacity of 1,300, Auditorium, built in Grafenegg in 2008, for 4 days. Early reflections in the hall felt rather bright, and reverberation was about 2 seconds. Curtains were hanged on the side and front of the stage to diminish the early reflection, and the recording was managed using a piano storage room backstage as a control room.
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span class="Apple-style-span" style="line-height: 18px;"><strong>5. Recording Equipment</strong></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">The recording equipment for this recording was organized by connecting a MADI Interface, 2 RME Micstasys and an OctaMic XTC, all set on stage (See Fig. 1). MADI signals were transmitted to RME MADI Router through an optical fiber cable and divided to 2 branches, and then recorded by the main DAW (MERGING Technologies Pyramix) and a back up DAW (Magix Sequoia) through 2 MADI-USB Interfaces (RME MADIface XT). It was impressive that the whole equipment was transportable with just 1 passenger car even though the recording system was for 192kHz 24bit 24 track sound.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: xx-small; line-height: 18px; text-align: center;"> Figure-1 Recording System</span></div>
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<span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Stage Box : RME Micstasy, Octamic XTC</span> </span><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Audio Interface : RME MADI Router,MADI face XT</span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Audio Interface : RME MADI face XT</span> </span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"><span style="font-size: xx-small;"> </span><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">DAW : Merging Pyramix</span></span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"> </span><span style="font-size: xx-small;"> </span></div>
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<strong style="font-family: times, 'times new roman', serif; line-height: 18px;">6. Actual Recording</strong><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"></a></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span class="Apple-style-span" style="line-height: 18px;">The recording of Richard Strauss' Ein Heldenleben (A Hero's Life) and Der Rosenkavalier (The Knight of the Rose) had been performed for 4 days from October 16. On the first day there was a rehearsal from 3:00pm, and a live recording of Ein Heldenleben, where powerful and tense concert takes were recorded. This was performed in a concert setting open only for supporters of the orchestra at 7:30pm. Next day, on the 17th, the session recording for details based on the concert on the day before took place. Then, the session recording of Der Rosenkavalier followed for 2 days on October 19 and 20. Although both pieces were for large orchestra with 4 players in each part of the wind section and advanced performance skills, the conductor and orchestra united as one and the Tonmeister directed the recording to unleash virtue of their music to the fullest extent.</span></span></div>
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<strong style="font-family: times, 'times new roman', serif; line-height: 18px;">7. Microphone Arrangement</strong><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Fig. 2 shows the microphone arrangement of the recording. In order to record an open and clear string sound, the recording was executed based on a concept of taking overall sound of the strings by using a Decca Tree instead of placing spot mics at 1st and 2nd violin, viola, and cello. The main microphone system was organized with AB-Stereo by Schoeps MK2S and Decca Tree LCR-LL-RR by B&K 4006, wide cardioid Schoeps MK21, suspended from a baton and facing toward the ceiling, were set as surround LS-RS. Unidirectional spot mics were set only at the double bass part in the strings section, each part in the woodwind section, horns, harps, and percussion. In addition, another spot mic was set at the right backstage where th e off-stage trumpets were performed in Ein Heldenleben. Each spot mic was time-aligned with the Decca Tree, which had the biggest weight among the main microphone system. Specifically, time margins between the DAW waves of the main mic and each spot mic were measured by emitting a pulse sound at the point where the instruments' sound to be taken by each spot mic would actually be sounding, and considering the mutual relations among all the mics, mixing was done by delaying signals from the spot mics with DAW Pyramix mixer's track delay.
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerIFig2MicSetup.pdf" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJE6hQ5cpXjd1XKLFvUmBh07M6rRFpD5DXJjd4x0h359nI6STf8qWD5mHaIcIYK9fcJiHoKsDlroJXCVu-qdTOtYHgS7mG2y-fkEzbGTOY3AUMA2byp2CaPJaZimU6PSPWZ_dJxb3sbizW/s1600/Tonkunstler07.jpg" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: xx-small; line-height: 18px; text-align: center;"> Figure-2 Microphone Arrangement </span></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-1.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRnvkPBJSmrWN1DXC6YCr6Ob4zxaIfy-Yx9ZPyljowyWutIS4IihyL5cxn4MOURuFTp9dCYW9BJcwnhYaIE4CvV31ksVaCWfQ8z_9jjyu_oOZBjrCZnhwyV-wAi-lq_bByuRZLO1od7yq_/s1600/Tonkunstler08.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-2.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngQEpFtrpJZuk2Rm0LsH1EoaDxShkENoExFbU192PnKMlC1dvg6rrR_xiL4bDnCQFxeMJjBTOZB0eJQfRCujRDEqq7AFORWMNBFM32YjZlEZrpN13F1T_u-f3JP_-RuQU1Y4wb89ALXj1/s1600/Tonkunstler09.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-3.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjSNrMlH5aSvkAsaNxwBgZ8cLW_xvWt-Hyd_9HrJSgZV706DJRf6A4Hid364a0UUobrPOLZPi3r3TIBEd1XV5ezftbTCzP7v-OxHNuEQY5RhC7r-mDk-SM0Kl9i_RNqR5-nQAG4IGVYgA/s1600/Tonkunstler010.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-4AB.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhChr69nhHEy-TXZT0L5WDQvmMTdW-HDm5fwwcR2XPM1bm9DyljYWgEM4LkJ2MK9ZsFHJWtjv2ulE16idF4LlEXU5gEfl1Z-S8K0pgbOyUwsGOmxsHIw07yxWOaIXU_UgvGxvmGoVN-qgAG/s1600/Tonkunstler011.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-6Decca.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixr-47MQo2dE6QvB3MGlH2uQnTsmr89_Dn4j2ylRHPTr9Yh1cYAM6FvPqKac7KxryEMZ1UxbIVU9OsnIfPD3hMV0bDQ9pMDH24QxrXqp_c0tZdVgTHHdr7M5UamJLkcePNwuvMqCUcyTwg/s1600/TonkunstlerI3Mic-6Deccas.jpg" /></a> <a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3Mic-5LSRS.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrllSXIqaUyoUflLdyE9NEsOzkO_2Js6vp4450mDLsE9t0datdeFW1LbBfJnlvTOHVAaWQQxkba4LlpyzVqj5Bi6kYFgdeVJVJ-P-pDJkN7snJP_fa6oSnEnfuxDOZ4LDCyBFD-AeQiHvl/s1600/TonkunstlerI3Mic-5LSRSs.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3SpotMic1Wood.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHeSlQZKBrLb2mlPgmVHRrmSKSt0VPliLqyV8PtUfRNIrYU0LkTqZ1we9_a11BaCj53Vq6fQQcxuejwY2tOznbuF1VEqGE__XAyK3L2fVDLOltInZC2TD0vg2nXC6L3BNxorIcnpHCmWUo/s400/TonkunstlerI3SpotMic1Wood1s.jpg" /></a> <a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3SpotMic5GC.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1uprxejE8eht9SFGZgVj8_ZgYf1sIecdW0kbf4PZdd3QyOtZkWq4LwZThzZEu6mMio0VhaJqCcqVU9BPI6miIAYsxmXlFi1ZVQTX7_TJ3BWQJ-liU_Hpa3keHah-BtDfBkiqF0T7Up04k/s400/TonkunstlerI3SpotMic5GCs.jpg" /></a></div>
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<a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3SpotMic9Timp.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbYGylgy4_Ki4X1qMDT2LCsRE74nQ6SSNqLFAHGtMllLisLtHHCnvkH7bt0fcKeayZPk6NOc2oDxQdPAHnVN6qKDBWK1ayDMw7qEd5_2lP02MttwK0UbCH_mLeANjMWfD4-wXq2nZiqJOc/s400/TonkunstlerI3SpotMic9Timps.jpg" /></a> <a href="http://kazuyanagae.com/20160301reportTonkunstler/TonkunstlerI3SpotMic7Banda.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Hk7U3sm5qLTA0KENpZfXuZr1FvcBqYmaMt54LR8HnP_RLW_W6EJlWLABtjfbTmZp341XaAcfR2U0RzvTox-dFpkFmt0TvIisac_WEBZOddOgWaKDV7Kfi1NCgXOQZHsYTfF4eJ5xOv5q/s400/TonkunstlerI3SpotMic7Bandas.jpg" /></a></div>
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<strong style="font-family: times, 'times new roman', serif; line-height: 18px;">8. Post-production</strong></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Post-production was done at Pegasus Musikproduktion's studio in Berlin, and I interviewed Mr. Schmidt and Mr. Matusch on the details of the post-production. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">Please let me know your ideal sound and recording. </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.In a good recording the listener can fully concentrate on the music without thinking about technical details. Also important are a good sounding hall which fits the music and a good balance between the diferent instruments.We think the right positioning of the main microphone system is the most important factor, because the main microphones make about 90% of the sound. A height difference of only 10cm will lead to a big difference of the whole sound. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">What is most important factor in equipment?</span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.The most important factor is reliability. We want to use our equipment like an instrument without caring much about technical details. Instead of losing time with setting up complicated technical setups, we want to concentrate on the sound as quick as possible.
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">Why do you recommend MADI? </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.MADI is really fantasic because it allows us this quick and easy setup mentioned in the last question. We are using RME MADI technology for a long period now and never experienced any problems like dropouts or synchronizing issues even at highest sample rates, we can really recommend it. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">What do you think of Edit and Mix and Mastering? </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.The mixing process starts already during the first take of the recording. We have to quickly decide if issues in the sound like balance problems between different instruments are a problem of the recording or a problem of the performance. It is always better to correct things directly on the stage than "fixing it in the mix". </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">What was the work flow of the post-production? How about Edit? </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.After the first edit and mix, Mr.Sado visited us in our Studio in Berlin and we finalized the project in an 8-hour mixing-session. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">How about Mix? How Main Mic and Spot's Level % </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.Depending on the score the mix is completely different, from main microphones only to a relatively spot based mix. There is automation on every single channel. We think Spot mic's time alignment is very important. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">How did you mix with surround? </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.First of all we had a nice sounding pair of Schoeps MK21 microphones for the surround channels. The automation of the stereo mix is used as a basis for the surround mix, moreover we used two different Bricasti M7-reverbs for front and back and we played a bit with the relation of early reflections and reverb. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Q.<i><span style="color: blue;">How did you MIX with the off-stage trumpet in Ein Heldenleben? </span></i></span><br />
<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A.Please find out ! </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">As I look back the recording this time, I felt that each of conductor, orchestra, orchestra manager, and Tonmeister had a clear target “to create a wonderful work,” and the project was accomplished by their team work. This is a result of that the orchestra manager and Tonmeister well organized the project to make a concept and schedule of the recording the most suitable in advance, and I felt anew that a process of planning up to the recording itself is very important to have successful recording. According to Mr. Schmidt, his career as Tonmeister started with an internship at a large record company in early 90's, and orchestra recording at the time was done on a massive scale with much equipment and many staffs, spending many days. Today, high quality/low cost technology with MADI allows us to do orchestra session recording with just a few people. By this technology, possibility of technical troubles in circuit has been diminished, and Tonmeister can concentrate on micing and content of music. Furthermore, I felt that an amount of their communication with players and manager of orchestra is increasing. I heard that the orchestra is going to keep having self-producing high resolution recording for 1 CD per 1 year, and I am looking forward to seeing what kind of works are going to be released. I am grateful to Tonkunstler Orchestra and Tonmeisters, Mr. Florian B. Schmidt and Mr. Aki Matusch for giving me an approval for publishing this article. </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Translated by Hitoshi Sugie</span><br />
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<b style="font-family: times, 'times new roman', serif; line-height: 18px;">CD information</b></div>
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<a href="https://www.tonkuenstler.at/en/orchestra/cds/strauss-a-heros-life-and-suite-from-der-rosenkavalier" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1EuhS1esUvGPvjq1qo8mLqVPAQK_WaccRC9D3-vISGWYKHPjtJmGjx97XrGmY2FWJfCfBeOb3B8B9lLN9tEZqYy6WWcb_ccD1781uuzy2YO0k1eiKkBUknTJdGhNB3xz5h47ESdFl5MF/s400/CDStraussTKO.jpg" /></a></div>
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<b><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">A Hero's Life </span></b></div>
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<b><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">and </span><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Suite from </span><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">"Der Rosenkavalier" </span></b></div>
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<b style="font-family: times, 'times new roman', serif; line-height: 18px;">Yutaka Sado / Tonkunstler Orchester </b></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">"A Hero's Life" tone poem, op. 40 </span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Recorded at Auditorium Grafenegg, Lower Austria, 16–20 October 2015 </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Recorded by: Pegasus Musikproduktion
Producer: Florian B. Schmidt </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Sound engineers: Aki Matusch, Florian B. Schmidt </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Location assistant: Kazuya Nagae </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Post production: Aki Matusch, Florian B. Schmidt </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Design: parole München </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Photographers: Kazuya Nagae, Platzhalter, Platzhalter, Platzhalter </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Editing: Ute van der Sanden </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Translation: Caroline Wellner, Masato Nakamura
Proofreading: Sandra Broeske </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">Executive producer: Frank Druschel </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"> ℗ + © 2016 Niederösterreichische Tonkünstler Betriebsgesellschaft m.b.H. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">All rights of the producer and the owner of the work reproduced reserved.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 18px;"><a href="https://www.tonkuenstler.at/en/orchestra/cds/strauss-a-heros-life-and-suite-from-der-rosenkavalier" target="_blank">Information Link</a></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"></span><b style="font-family: times, 'times new roman', serif; line-height: 18px;">Profile</b><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"> </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><b>Conductor : Yutaka Sado </b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">In recent seasons, Yutaka Sado has made his debut with the Berlin Philharmonic, the London Symphony Orchestra, the Bavarian State Orchestra, the WDR Symphony Orchestra, the NDR Symphony Orchestra Hamburg and the Mahler Chamber Orchestra. Forthcoming engagements see him conducting the MDR Symphony Orchestra Leipzig and the Danish National Radio Symphony Orchestra for the first time. A long-time assistant to Leonard Bernstein and Seiji Ozawa, he has won some of the most distinguished conducting awards worldwide, including the Premier Grand Prix of the 39th International Conducting Competition in Besançon and Grand Prix at the first Leonard Bernstein Jerusalem International Music Competition. His close ties with his mentor led to his appointment as «conductor in residence» at the Pacific Music Festival in Sapporo, which was founded by Bernstein. Yutaka Sado has been Artistic Director of the Hyogo Performing Arts Centre (PAC) and Principal Conductor of the PAC Orchestra since 2005. The PAC’s three concert halls now attract over 70,000 visitors a year, making it one of the most notable concert venues in Japan. Sado is very well known in Japan, not least due to his weekly TV show in which the conductor takes on the role of presenter to give Japanese music lovers an understanding of the world of classical music.
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><b>Orchester : Tonkunstler Orchester</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">The Tonkunstler are the only Austrian symphony orchestra to boast three residencies. The Sunday Afternoon Concerts at the Vienna Musikverein have a tradition that stretches back over 60 years and remain the Tonkunstler’s most successful concert cycle to date. The Festspielhaus St. Pölten was officially opened by the Tonkunstler on 1 March 1997. As resident orchestra, they have catered to a variety of genres since then with opera, dance and educational projects, as well as an extensive range of concerts. They thereby form a large and integral part of the cultural life of the Lower Austrian state capital. In Grafenegg, the Tonkunstler have two acoustically outstanding venues at their disposal in their capacity as festival orchestra: the Auditorium and the Wolkenturm. The latter was also officially opened by the Tonkunstler. Each year, the Midsummer Night’s Gala – broadcast on radio and TV in Austria as well as in several other European countries – opens the summer season in Grafenegg.
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><span style="font-weight: bold;">Tonmeister</span></span>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTq5-erqf1egsMPAMs4xdGqxqPgJzBHpATiCJmgnb5-jfmYc3c3LVYNGHzzRoz0SrRfgEyKgE-z67yrKgBsnEkS2HEq_H8fc00Jk1BwlHAyLdKlXXWr57pj_DrbnqdXipMIpqLE1DSQG_C/s1600/FlorianBSchmidt.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTq5-erqf1egsMPAMs4xdGqxqPgJzBHpATiCJmgnb5-jfmYc3c3LVYNGHzzRoz0SrRfgEyKgE-z67yrKgBsnEkS2HEq_H8fc00Jk1BwlHAyLdKlXXWr57pj_DrbnqdXipMIpqLE1DSQG_C/s400/FlorianBSchmidt.png" /></a><b>Florian B. Schmidt </b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">graduateTonmeister from Universität der Künste, Berlin and over 20 years of experience as a freelance Artistic Producer. During these years he has produced numberous recordings for Deutschlandradio Kultur, which include many nationally and internationally acclaimed award-winning recordings of all genres and epochs. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; line-height: 18px;">graduate Tonmeister from Universität der Künste, Berlin, has been working as a free-lance sound engineer for many labels, ensembles, orchestras and radio stations since receiving his diploma in 2011.
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Anonymoushttp://www.blogger.com/profile/14434738881420467548noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-62770084905365355452015-10-22T05:01:00.000-04:002015-10-24T06:03:04.044-04:00Interview in the resolution magazine " Surround sound music has always been important to me. "<a href="https://drive.google.com/file/d/0B1zhMK3_Ebqrdy1mWGZwaHhLYWs/view?usp=sharing"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM1JVxRNBciZn_dA6VVz7hx4e8SkHk8Cgp2UqXYkxl7-NvAjG1AkY4jBaxA0zaAziE6lTIFzu4HU_SfnXLCkWiUtKoawsTFCdbZ9a6X6Q44nrPFcd9wkkSulaNv9fLofM0LWsgnuJmXw/s400/resolution.jpg" width="400" /></a><br />
A true audio innovator and experimenter, Mick Sawaguchi has been at the heart of surround capture and delivery since its inception. Still as active and involved as ever, he talks to DENNIS BAXTER about his work and what he’s learnt.
[ <a href="https://drive.google.com/file/d/0B1zhMK3_Ebqrdy1mWGZwaHhLYWs/view?usp=sharing">PDF</a> ]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-86520947629205220612015-10-06T04:32:00.001-04:002015-10-10T05:37:39.571-04:00Latest Surround Design for Cinema<div align="center" class="MsoPlainText" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The Fundamental
surround design for latest Cinema Sound<o:p></o:p></span></b> <a href="https://drive.google.com/file/d/0B1zhMK3_EbqrcWhtcF9HZDJJYlE/view?usp=sharing">[ PDF ]</a></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Mick
Sawaguchi Fellow M of AES/ips<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><b>Abstract</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">In this paper, I introduce a fundamental
sound design for surround.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It gained from my 35 years practical
surround mixing designing experience, Also I have been investigated a number of
Best Sound Design Films which were analyzed from Academy Best Sound Editing
Award since 1981 to 2013.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><b><span style="mso-tab-count: 1;">1 </span>Six
basic patterns of surround sound design for dramas </b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">1-1 Surround
ambience <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">This is the most fundamental surround
sound design. It sounds enable the audience to better perceive how the story is
proceeding. There are two typical techniques to create it. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">One is build up from conventional 2CH
stereo to front and surround.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The other is that to use a
surround-recording ambience.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;">1-2 </span>Fly-over<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">As suggested by the name, specific sound
flows longitudinally between the front and rear sections of the studio. A sharp
snap of sound effect adds a strong impact to the scene. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">1-3 Whirlpool<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The audience is thrown into a spiral
whirlpool of sound and so feels as if the place is swinging in every direction.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">1-4 Proceeding
and After Image<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Sounds, which may predict what is about
to happen in subsequent scenes, are reproduced, not merely generating a
sensation of reality or feeling of unity as with the method in Item (1) above.
The sounds produced here must be short, have a punch and allow the audience to
guess what's coming next.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;">1-5 </span>Sound
shower from top<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">A shower of sound comes from above the
audience. It is theoretically impossible to reproduce vertical relations using
any configuration of the current horizontal 6-channel speakers. The method,
however, makes use of the physical advantage of surround speakers, which are
typically installed higher than the audience seats. It is much enable to produce to make use of latest 3D-Surround format such as Dolby Atmos or Auro 3D so far.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;">1-6 </span>Big,
closer sound feeling<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Most of the sounds come horizontally
instead of from above; the main components are reproduced with the front
C-channel, and supplementary components with the L-R/SR-SL channels. This
method is useful for emphasizing a specific human voice in dialogue or
monologues or for big sound effects representing gunshots and explosions. In
this method, sound can be boosted larger than that reproduced from a single
channel. Using more than one channel can strengthen the drive to a higher level
than representing all with a single channel, while securing the peak margin.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><b>2 Latest Surround design by Digital format</b></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It sounds bit hard to get such design on Matrix surround or SR-Dformat.But Thanks of Digital format,It will expanding more ideal sound design which are adaptable to Designer's needs.</span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">2-1 Independent discreet sounds<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It is new sound design since come up
digital surround format.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The advantage it has that to representing
different sound source without any<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Interference.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><o:p><br /></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">2-2 Hard Ambiences<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It is also new sound design since digital
format.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The difference between ordinary surround
ambience it that<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It enable to presenting much harder sound
wall than conventional ambience.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">To give a more enclosed space or tension
to audience.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">2-3 The contrast of Subjective and objective
sound<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It is also a new sound design since
digital format.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">It enable to representing a subjective
sound and objective sound according to <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Cut back the both cuts.<o:p></o:p></span></div>
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Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-1431023796854674512014-03-29T23:28:00.000-04:002014-03-30T06:17:46.005-04:00Investigation into Tolerance of Home-theaters’ Surround Speaker Placement for Acceptable Perception of Reproduced Sound<!--[if !mso]>
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<br />
<div class="Section1">
<div class="MsoTitle">
<span class="Apple-style-span"><br /></span>
<span class="Apple-style-span">As WG Group under Organization of JAS(Japan Audio Society)</span></div>
<div class="MsoNormal">
<span class="Apple-style-span"><br /></span>
Mick M.Sawaguchi<br />
Shinji Koyano <br />
Kazuhiko Terui<br />
Satoshi Suzuki<br />
Atsushi Marui<br />
Bike H.Suzuki<br />
<span class="Apple-style-span"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOGZsAsZ4FYteL1CelhJrS3_mcJflz5vQK5cz4WKrPq42-0ceZskjg17slqmevWbFalgihHOdLolnRP5XtAVMnhtrJmWDijD68YA8fVPbFNXV4tBlpq5XU8yH58FMugrruTuqzn5diKPZN/s1600/5s+snap.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOGZsAsZ4FYteL1CelhJrS3_mcJflz5vQK5cz4WKrPq42-0ceZskjg17slqmevWbFalgihHOdLolnRP5XtAVMnhtrJmWDijD68YA8fVPbFNXV4tBlpq5XU8yH58FMugrruTuqzn5diKPZN/s1600/5s+snap.png" height="240" width="320" /></a></div>
<span class="Apple-style-span"><br /></span>
<span class="Apple-style-span"><br /></span></div>
<div class="Address" style="mso-pagination: widow-orphan;">
<span class="Apple-style-span" style="font-family: 'Times New Roman';">Surround sound is normally produced with the loudspeakers
arranged according to the recommendation ITU-R BS.775-2. However, in ordinary
homes, especially in Japan, the produced surround sound is not necessarily enjoyed
with the same loudspeaker arrangement. Investigation and research was performed
to study the tolerance of surround speaker arrangement for </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><b>listeners at home</b></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> to
enjoy the surround sound with the quality level </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><b>as close as possible to what
the original production intended for.</b></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";"><b><span class="Apple-style-span" style="font-weight: normal;"><b>The goal was to develop and propose a practical guideline for surround loudspeaker placement in designing a good home-theater.</b></span></b></span><br />
<span lang="EN-US" style="font-family: "Times New Roman";"><b><span class="Apple-style-span" style="font-weight: normal;"><b><br /></b></span></b></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><b><br /></b></span></div>
</div>
<br />
<span class="Apple-style-span">1. INTRODUCTION</span><br />
<div class="Section2">
<div class="10">
<a href="https://www.blogger.com/blogger.g?blogID=7506828774858462181" name="OLE_LINK1"></a><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">It
is normally recommended that surround loudspeakers of a home-theater audio system
should be placed according to the ITU-R Recommendation BS.775-2, Multichannel
stereophonic sound system with and without accompanying picture. (Fig.1)</span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">The
recommendation is based on the agreement on the results of evaluation tests of
surround loudspeaker placements performed globally in the 1990’s. Most rooms specifically
for surround sound production have the surround loudspeakers placed right
according to the ITU-R recommendation. </span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><br /></span>
<span class="Apple-style-span" style="font-family: 'Times New Roman';">If the same loudspeaker placement can be
installed at ordinary homes, users would be able to enjoy the sound as it was
intended in the production field.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">However,
in Japan rooms at homes are forced to have several restrictions in terms of
room size and shape. Many home-theater owners must be content with a
loudspeaker placement which is very different from the one recommended by ITU.<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">The
research presented here was performed to clarify the torelance of surround
loudspeaker placement for </span></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">Acceptable
perception of reproduced sound.</span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><br /></span>
<span class="Apple-style-span" style="font-family: 'Times New Roman';">The research consisted of investigation of actual loudspeaker placement at homes, and auditory impression evaluation test, which made comparisons of the auditory impression between the ITU-R Recommendation and actual domestic placements.<b> </b></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><b><br /></b></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZLdZ2h1HPZKCoFOCtYdlknCO_zUTmJBSOoCq0wABKEfPSRCsPAa-MoDix8hI2qoawtw4IWfmpUIwopErBpSrKWG3SAGfsYaXZRtTQQUCZ8JibqNMrUxj62kYrTTaILhuIH0rhX8F6XhE/s1600/FIG01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZLdZ2h1HPZKCoFOCtYdlknCO_zUTmJBSOoCq0wABKEfPSRCsPAa-MoDix8hI2qoawtw4IWfmpUIwopErBpSrKWG3SAGfsYaXZRtTQQUCZ8JibqNMrUxj62kYrTTaILhuIH0rhX8F6XhE/s1600/FIG01.png" height="194" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><b><br /></b></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;">2. SURVEYS
ON LOUDSPEAKER PLACEMENT IN HOME-THEATERS</span></b></div>
<div class="10">
<br /></div>
<div class="10" style="margin-left: 27.05pt; mso-char-indent-count: -2.5; text-indent: -27.05pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">2.1 Gathering and Analysis of Samples of Loudspeaker
Placement <o:p></o:p></span></b></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Home
theater installers and individual home-theater owners offered a total of 82
samples of data on loudspeaker placement in home theaters. The samples of data
included:<o:p></o:p></span></span></span><br />
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">1.
Locations of surround loudspeakers on a plane: distance from the listening
position in meters, relative position to the listening position, and position
of display or screen.<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">2.
Height of each loudspeaker (from floor to the physical center of the
loudspeaker)<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">3.
Sketch drawings or pictures of loudspeaker placement <o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">From
the data above the following parameters were calculated:<o:p></o:p></span></span></span><br />
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">1.
The plane-projected distance and the real distance from the listening position
at a height of 1.2m, for each loudspeaker except for a subwoofer.<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">2.
Plane-projected angles between loudspeakers:<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Left Ch. (L) to Center Ch. (C)<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Right Ch. (R) to Center Ch. (C)<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Left Surround Ch. (LS) to Center Ch. (C)<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Right Surround Ch. (RS) to Center Ch. (C)<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">3.
Slant angle (upward or downward) from the listening position, for each
loudspeaker.<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">2.2 Typical Loudspeaker
Placement Patterns Extracted<o:p></o:p></span></b></span></span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Of
82 samples, 69 samples which deal with 5 surround loudspeakers were subjected
to cluster analysis with three parameters: (1) plane-projected distance of each
loudspeaker, (2) plane-projected angles between loudspeakers, and (3) slant angles
(upward or downward) from the listening position.<o:p></o:p></span></span></span></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">As
a result, the 69 samples of loudspeaker placement were grouped into the following
five patterns:<o:p></o:p></span></span></span></div>
<div class="10">
<br /></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 1:
All loudspeakers are positioned higher than the listening position.<o:p></o:p></span></span></span></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<br /></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Pattern
2:<span style="mso-spacerun: yes;"> </span>Only rear loudspeakers are
positioned higher than the listening position.<o:p></o:p></span></span></span></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<br /></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 3:
Front loudspeakers are narrower angled, rear wider angled.<o:p></o:p></span></span></span></div>
<div align="left" class="10" style="margin-left: 42.5pt; mso-char-indent-count: -4.25; text-align: left; text-indent: -42.5pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 4: Similar to the placement by ITU-R
recommendation <o:p></o:p></span></span></span></div>
<div class="10" style="margin-left: 42.5pt; mso-char-indent-count: -4.25; text-indent: -42.5pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 5: Rear
loudspeakers are positioned right at the sides of the listener<o:p></o:p></span></span></span><br />
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></span></span>
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjMho2Kg2RyKI4GlfgVg83C0oGj8A0-OPYuv7VuJffOircNm4ii06MZzZzCzp8WIkQSKM_ltIPLpNMhzTXKf93Lv0Q8AtEjFhk-HT9An6Q-0yCmxv1Ggr4H4ge9Knr_Mh_4si1z_d0KBBq/s1600/Fig02.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjMho2Kg2RyKI4GlfgVg83C0oGj8A0-OPYuv7VuJffOircNm4ii06MZzZzCzp8WIkQSKM_ltIPLpNMhzTXKf93Lv0Q8AtEjFhk-HT9An6Q-0yCmxv1Ggr4H4ge9Knr_Mh_4si1z_d0KBBq/s1600/Fig02.png" height="270" width="320" /></a></div>
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></span></span></div>
<div class="10" style="margin-left: 45.0pt; mso-char-indent-count: -4.5; text-indent: -45.0pt;">
<br /></div>
<div class="10">
<span class="Apple-style-span"> Fig.2 Five Typical Patterns of Loudspeaker Placement</span></div>
<div class="10">
<br /></div>
<div class="10">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;">3. Perceptual
Audio Evaluation Test<o:p></o:p></span></b></span></span></div>
<div class="10">
<br /></div>
<div class="10" style="margin-left: 16.25pt; mso-char-indent-count: -1.5; text-indent: -16.25pt;">
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;">3.1 Selection of loudspeaker
placement patterns for evaluation test</span></b></span></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;"><o:p></o:p></span></b><br />
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;"><br /></span></b></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1isU6PLR0Peywy6pNn7xeGe_tyeX6Ot63juIkyJKRzl4lZzmMxvwJMZI82wxEOr3vKYEYxwyti-Jg8jeHLZd4nTevpeGlHie_pG8AUfZ-utEilLmB095fwCuHXBRtDLbTK5qnTVhXFjcf/s1600/SONY-L23D-ROOM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1isU6PLR0Peywy6pNn7xeGe_tyeX6Ot63juIkyJKRzl4lZzmMxvwJMZI82wxEOr3vKYEYxwyti-Jg8jeHLZd4nTevpeGlHie_pG8AUfZ-utEilLmB095fwCuHXBRtDLbTK5qnTVhXFjcf/s1600/SONY-L23D-ROOM.jpg" height="320" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Sample recording room under IEC Spec</span></td></tr>
</tbody></table>
<br />
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;"><br /></span></b></span></span>
<span style="mso-bookmark: OLE_LINK2;"><span style="mso-bookmark: OLE_LINK1;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times;"><br /></span></b></span></span></div>
<div class="10">
<span lang="EN-US" style="font-family: "Times New Roman";">Two more patterns were added to the
five (5) patterns for the auditory impression evaluation test. The additional
two patterns allow for the growing trend in Japan to place loudspeakers in the
ceiling of home theaters. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Times New Roman";">The seven (7) patterns are:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 40.0pt; mso-char-indent-count: -4.0; tab-stops: 35.45pt; text-indent: -40.0pt;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 1: Rear
loudspeakers are angled excessively wide from the listening position<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.0pt; mso-char-indent-count: -4.0; text-indent: -40.0pt;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 2: Rear loudspeakers are
positioned higher than the listening point. It is assumed that many home
theaters have rear loudspeakers installed on the walls.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.0pt; mso-char-indent-count: -4.0; text-align: justify; text-indent: -40.0pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 3: The front center loudspeaker is positioned lower
than Left, Right loudspeakers and the listening point. The pattern corresponds
to a case where front center loudspeaker is positioned below a large screen.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.0pt; mso-char-indent-count: -4.0; text-indent: -40.0pt;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 4: Rear loudspeakers are
positioned right at the sides of the listener, and the listening point is very
close to the rear wall.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 42.5pt; mso-char-indent-count: -4.25; text-align: justify; text-indent: -42.5pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 5: The three front loudspeakers are positioned lower
than the listening point. The pattern accounts for home theater products called
“Theater Rack.” <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.4pt; mso-char-indent-count: -4.04; text-indent: -40.4pt;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern6: Assumed is a case where the rear
loudspeakers are installed in the ceiling <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.4pt; mso-char-indent-count: -4.04; text-indent: -40.4pt;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pattern 7: Assumed is a case where all
the loudspeakers are installed in the ceiling.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 40.4pt; mso-char-indent-count: -4.04; text-indent: -40.4pt;">
<br /></div>
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</table>
</span></div>
<h1>
<span style="font-size: small;"> <span class="Apple-style-span" style="font-family: 'Times New Roman'; font-weight: normal;">Fig.3 Loudspeaker Placement Patterns</span></span></h1>
<div>
<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-weight: normal;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUM0nQ3aVpZZ08pBR7d4okFr3caox5KcBTxL1XSNn_VWtf5G6zP28nhijUgixdcn_ZTB7FHTsDjEHgppc4FjQmqBCMPNpXRBkX6dzFxkFwIz_EfQ859QhL6HQ-uLyFn0cY_Yx2jY4JMWq4/s1600/p-01.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUM0nQ3aVpZZ08pBR7d4okFr3caox5KcBTxL1XSNn_VWtf5G6zP28nhijUgixdcn_ZTB7FHTsDjEHgppc4FjQmqBCMPNpXRBkX6dzFxkFwIz_EfQ859QhL6HQ-uLyFn0cY_Yx2jY4JMWq4/s1600/p-01.png" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Evaluation test sample recording with 7 deferent SP patterns by Dummy Head</span></td></tr>
</tbody></table>
<div>
<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-weight: normal;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.2 Evaluation Attributes and Sound Samples<o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">From the viewpoint of evaluating expressly and clearly
fields of surround sound, three (3) evaluation attributes were selected: (1) Listener
Envelopment (Sensation of being embraced by sounds), (2) Sound Image Localization,
and (3) Sensation of movement.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">For each evaluation attribute, the following three sound
samples were prepared:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 10.0pt; mso-char-indent-count: -1.0; text-align: justify; text-indent: -10.0pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-left: 10.0pt; mso-char-indent-count: -1.0; text-align: justify; text-indent: -10.0pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(1) Sounds recorded in a natural outdoor environment (for Listener
Environment)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>Early in the morning, in a wood. Birds are singing all around over 360
degrees.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(2) Instrumental Music (for Sound Image Localization)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>Main Vocal in the center. Instruments positioned all over around 360
degrees.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(3) Sound Effect<span style="mso-spacerun: yes;">
</span>(for Sensation of movement)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>A single sound source rotates around the listener in increasing speeds
on a horizontal plain.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-char-indent-count: -1.42; text-align: justify; text-indent: -14.2pt; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Editing was made so that the duration
of each sound sample is one minute.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.3 Preparation of sound samples for evaluation<o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">It is impractical to set up all the seven
loudspeaker placement patterns for each evaluation because of the time and
labor encountered: subjects must wait for a certain time before a new pattern
of loudspeaker placement is set up, and tend to forget the impression of the
sound presented in the preceding pattern.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">In order to reduce the load on subjects
and implement higher evaluation precision by presenting sound samples freely
and instantly, the evaluation test was designed to use a method of presenting the
sound samples, which are recorded by a dummy head. In preparation for this,
binaural recordings of the sound samples described in 3.2 were made in a
reference listening room, which is in conformity with the ITU-R BS.1161-1, through
a dummy head to produce sound samples for the evaluation test.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-left: .05pt; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.4 Evaluation Method<o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Subjects of the evaluation were 25 adults in their twenties
to fifties who are audio specialists with aurally normal ears. The 5-point rating
scale method was used in the evaluation test: Subjects evaluate each sound
sample for (1) listener environment (sensation of being embraced by sounds),
(2) sound image localization, and (3) sensation of movement, by marking a level
in five levels with “3” as the level which means that the evaluated quality of
a sound sample is equal to that of the reference sound sample. Since the
ratings were made in comparison to the reference stimulus, which is set to 3.0
on the rating scales, an average rating beyond 3.0 for a given stimulus shows
that the stimulus has higher sense of envelopment, localization, or movement
than the reference.<span style="mso-spacerun: yes;"> </span>However, in
order to state that the difference between the stimulus and the reference is
significant, statistical tests such as analysis of variance and t-test are
often used. In our study, a “rule of thumb” [9] was employed to simplify the
statistical inference.<span style="mso-spacerun: yes;"> </span>Namely, in
comparing average ratings of two stimuli, the two averages are statistically
significantly different (at alpha=. 05 level) if the average value of a
stimulus is not within the 95% confidence interval about the average value of
another stimulus. Also, a stimulus is perceived significantly different from
the reference on a given rating scale if the 95% confidence interval about the
average rating of the stimulus does not include 3.0 in between the edges.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.5 Sound
Sample Presentation<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Subjects were, for preliminary audition, presented with a15-second
duration each of the reference sound sample and seven sound samples of Pattern
1 to Pattern 7 with 5-second intervals in between. Then during the actual
evaluation test, subjects listened to the reference sound sample, which was
recorded in compliance with the ITU-R loudspeaker placement, and subsequently to
randomly present 30-sec durations of 7 patterns of sound samples with 5-sec
intervals in between. To check for a correct evaluation, subjects were able to
listen to each presentation as many times as they wanted.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.6
Results <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Times New Roman";">The result of evaluation by 25 subjects
of 7 loudspeaker placement patterns is shown in Fig.4.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "Times New Roman";"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakCqJGpv5uvgXy7jEp-FFnNwFwax84ZNLq1ZBoJA23kXbeWsdUQv580pJ69uHjk1FiJhhcR19hO_GRBeAl2JuTngipbe08Oq-V1ii1Oa3_b04NDN2n5E8bInEGDvzHDRcROWBjvc4RjHI/s1600/Fig04.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakCqJGpv5uvgXy7jEp-FFnNwFwax84ZNLq1ZBoJA23kXbeWsdUQv580pJ69uHjk1FiJhhcR19hO_GRBeAl2JuTngipbe08Oq-V1ii1Oa3_b04NDN2n5E8bInEGDvzHDRcROWBjvc4RjHI/s1600/Fig04.png" height="268" width="400" /></a></div>
<span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
</div>
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><o:p><br /> </o:p></span></b><span class="Apple-style-span" style="font-family: 'Times New Roman';">Fig.4 Results of Listening Test</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.7 Discussion</span></b><span lang="EN-US" style="font-family: "Times New Roman";"> <o:p></o:p></span><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Times New Roman";">Following are the review of results of
the evaluation listening test for the seven (7) -loudspeaker placements <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Times New Roman";">patterns:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 1:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Evaluation score for Listener Envelopment (Sensation of
being embraced by sounds) is as low as 2.0. This is ascribed to the weaker sound
link between the front and rear loudspeakers, which are at too great a distance
from one another.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 2:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The result shows that rear loudspeakers can be installed
higher than the listening point without inferior aural impressions. Greater
heights of rear loudspeakers do not lead to lower evaluation scores. The
allowable height and vertical angle slant for rear loudspeakers, as proposed by
the production side, should be within 30% of the reference height and within
15degrees of the horizontal position, respectively.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 3:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">For the three evaluation attributes, good evaluation scores are
obtained. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 4:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Lower evaluation score is observed for sound image localization,
and sensation of movement. This can be ascribed to the rear sound field, which
is rather narrow and small compared with the reference sound field.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 5:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Lower evaluation score is marked for sound image localization.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">This is due to the stronger reflections from the floor.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 6:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Evaluation is low for sensation of movement. It is estimated
that sense of smooth movement is difficult to<u><o:p></o:p></u></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">achieve because sound images move at a slanted angle.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Pattern 7:<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Evaluation score is low for sound image localization. This
could be ascribed to the greater deviation of loudspeaker directivity axis from
the listening position.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">For Patterns 5, 6, and 7, loudspeaker directivity axis orientation
must also be taken into consideration. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.8
Supplementary Experiments <o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">As described in the above, with Patterns 5 and 7, the
influence of the deviation of loudspeaker directivity axis orientation is not
negligible on the perceived sound at the listening position. To study in detail
the influence of deviated directivity axis, supplementary experiments were made
for Patterns 5 and 7, with the directivity axis orientation varied. Evaluation
was made on five (5) loudspeaker placement patterns shown in Table 2.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Patterns 1, 2, 3<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">All loudspeakers are placed as high as the ceiling. This
placement corresponds to a case in a home-theater where all loudspeakers are
mounted recessed in the ceiling.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<u><span lang="EN-US" style="font-family: "Times New Roman";">Patterns 4, 5<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Front loudspeakers are positioned closer to the floor, with rear
loudspeakers closer to the ceiling. This placement allows for a case where a “rack
theater” system is used.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The distance of each loudspeaker from the listening position
is 2000 mm.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The angle between the center and front L or R loudspeakers
is 30</span><span lang="EN-US" style="font-family: "Times New Roman";">°, between
the center and rear L or R loudspeaker 120</span><span style="font-family: "MS Pゴシック";">°</span><span lang="EN-US" style="font-family: "Times New Roman";">. The reference placement
was in accordance with the ITU-R recommendation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div align="center">
<table border="1" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-border-insideh: .5pt solid windowtext; mso-border-insidev: .5pt solid windowtext; mso-padding-alt: 0mm 5.4pt 0mm 5.4pt; mso-table-layout-alt: fixed; mso-yfti-tbllook: 1184;">
<tbody>
<tr style="height: 9.45pt; mso-yfti-firstrow: yes; mso-yfti-irow: 0;">
<td style="border: solid windowtext 1.0pt; height: 9.45pt; mso-border-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Pattern<o:p></o:p></span></b></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; height: 9.45pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" valign="top" width="88"><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Height
F/C/R (mm)<o:p></o:p></span></b></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; height: 9.45pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" valign="top" width="99"><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">TiltAngle
F/C/R(</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "MS 明朝";">°</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">)<o:p></o:p></span></b></div>
</td>
</tr>
<tr style="height: 9.05pt; mso-yfti-irow: 1;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 9.05pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">1<o:p></o:p></span></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 9.05pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" width="88"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">2300/2300/2300<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 9.05pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" width="99"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">25/25/25<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 8.65pt; mso-yfti-irow: 2;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 8.65pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">2<o:p></o:p></span></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 8.65pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" width="88"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">2365/2365/2365<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 8.65pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" width="99"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">0/0/0<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 8.85pt; mso-yfti-irow: 3;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 8.85pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">3<o:p></o:p></span></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 8.85pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" width="88"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">2220/2200/2245<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 8.85pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" width="99"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">90/90/90<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 5.45pt; mso-yfti-irow: 4;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 5.45pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">4<o:p></o:p></span></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 5.45pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" width="88"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">460/460/2245<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 5.45pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" width="99"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">0/0/90<o:p></o:p></span></div>
</td>
</tr>
<tr style="height: 2.8pt; mso-yfti-irow: 5; mso-yfti-lastrow: yes;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 2.8pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 45.0pt;" valign="top" width="45"><div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">5<o:p></o:p></span></b></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 2.8pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 87.5pt;" width="88"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">530/530/2245<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 2.8pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0mm 5.4pt 0mm 5.4pt; width: 99.2pt;" width="99"><div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Arial;">12/12/90<o:p></o:p></span></div>
</td>
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<span lang="EN-US" style="font-family: "Times New Roman";">Table 2.<span style="mso-spacerun: yes;">
</span>Supplemental Loudspeaker Placement Patterns<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3.9
Results of Supplemental Listening Tests <o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Results of supplemental listening tests are shown in </span><span class="Apple-style-span" style="font-family: 'Times New Roman';">Fig. 5.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0uS9yrav7nIHb4UiwShAJK5sg3hlXCmlHKZFLuTVo58jJJufUsDU1UhiFh6K5ViP9ObivFtgGZb_ZG-XuiLaQYsCRoxpZdDuKloQNqPTFyrYpiRbNGz9yWhfo9Qkq0Bg3_i8ki3vJafmn/s1600/Fig05.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0uS9yrav7nIHb4UiwShAJK5sg3hlXCmlHKZFLuTVo58jJJufUsDU1UhiFh6K5ViP9ObivFtgGZb_ZG-XuiLaQYsCRoxpZdDuKloQNqPTFyrYpiRbNGz9yWhfo9Qkq0Bg3_i8ki3vJafmn/s1600/Fig05.png" height="298" width="400" /></a></div>
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</span> <br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"> Fig.5 Results of Supplemental Listening Tests</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="font-family: "Times New Roman";">Patterns
1,2, and 3<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">With front and rear loudspeakers placed in the same setting
in terms of height, angle of separation, and directivity orientation, the aural
impression is not greatly different from that obtained with the reference ITU-R
placement. With Pattern 1, where directivity axis orientation is right toward
the listening position, the aural impression comes closer to that of the
reference ITU-R placement. With the directivity axis oriented right toward the
floor of the room, the evaluation scale is slightly lower than 3.0, but with
small variation in evaluation for the three evaluation attributes, suggesting evaluation
is little relevant to what contents is reproduced.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="font-family: "Times New Roman";">Patterns
4 and 5<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Patterns 4 and 5 correspond to the cases where rear
loudspeakers are installed in the ceiling, with the directivity axis oriented
right down to the floor. Front loudspeakers were placed, with tilt angle at 0 (Pattern
4) and 12 degrees (Pattern 5). As seen in Fig.5, the tilted placement of
Pattern 5 gives better evaluation than Pattern 4 in terms of “Listener
Envelopment (Sensation of being embraced by sounds)” and<span style="mso-spacerun: yes;"> </span>“Sound Image Localization.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">4. <span style="mso-spacerun: yes;"> </span>Conclusions<o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">1. </span></b><span lang="EN-US" style="font-family: "Times New Roman";">Cluster analysis of samples of surround loudspeaker
placement in home theaters resulted in deriving five typical placement patterns.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">2. </span></b><span lang="EN-US" style="font-family: "Times New Roman";">Since more and more home theaters are expected to have
surround loudspeakers installed in the ceiling, two placement patterns were
added to the five patterns for evaluation test.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Listening evaluation was made of seven loudspeaker placement
patterns against the ITU-R recommendation placement pattern for (1) Listener
Envelopment (Sensation of being embraced by sounds), (2) Sound Image Localization,
and (3) Sensation of movement.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The results are:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(1) Too wide angles between rear loudspeakers produce
inferior Listener Envelopment (Sensation of being embraced by sounds.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(2) With only rear loudspeakers installed in the ceiling,
evaluation is lower for Sensation of movement.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(3) With all the loudspeakers installed in the ceiling,
evaluation is lower for Sound Image Localization.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(4) With rear loudspeakers installed higher than front
loudspeakers , or the center loudspeaker installed lower than front L and R
loudspeakers</span><span style="font-family: "MS 明朝";">、</span><span lang="EN-US" style="font-family: "Times New Roman";">the evaluation score is comparable to that with the
reference (ITU-R recommendation) placement pattern.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The results of supplemental experiments support the
estimation obtained from the preliminary experiments.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";"><b>The results of the listening experiments have led to the proposal
of the following guidelines for surround loudspeaker placement in home
theaters. </b><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">1. Angle
between Rear Loudspeakers L, and R<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">A recommended angle is between 100 degrees and 135 degrees.
The angle allows a good surround field without listener envelopment and sound
image localization lost. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">(ITU-R recommends 110</span><span lang="EN-US" style="font-family: "Times New Roman";">±10</span><span lang="EN-US" style="font-family: "MS Pゴシック";">
</span><span lang="EN-US" style="font-family: "Times New Roman";">degrees</span><span lang="EN-US" style="font-family: "MS Pゴシック";">.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">2. Height of Front Center Loudspeaker <o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">If the three front loudspeakers cannot be placed at the same
height, the center loudspeaker is allowed to be placed lower than L and R
loudspeakers. The vertical slant angle from L and R should be within 20
degrees. The ITU-R recommends the placement at the same height as the listening
position.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">3. Slant
Angles of Loudspeakers Installed in Wall<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">For loudspeakers installed higher in the walls, the upward
slant angle should be within 20 degrees. The ITU-R recommends a degree within
15 degrees.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">4. Distance
of Rear Loudspeakers from Listening Position Relative to Front Loudspeakers.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">The distance of rear loudspeakers from the listening
position should be </span><span style="font-family: "MS 明朝";">±</span><span lang="EN-US" style="font-family: "Times New Roman";">10% of the distance of front </span><span style="font-family: "MS 明朝";"> </span><span lang="EN-US" style="font-family: "Times New Roman";">loudspeakers. (The ITU-R recommends the equal <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">distance from the listening position for each loudspeaker.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">5. Sound
Field Compensation Tool Utilization<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Proper use of automatic sound field compensation features
built in AV amplifiers combined with good loudspeaker placement allow general
users to enjoy the surround sounds as originally intended at production.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">ACKNOWLEDGEMENTS<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">A working group in the Digital Home-theater Committee of the
Japan Audio Society carried out the research and investigation by the listening
tests. It has been worked from 2010-2013.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
</div>
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><br /></span>
<span class="Apple-style-span" style="font-family: 'Times New Roman';">Deep gratitude goes to those who provided the loudspeaker placement
information, offered the experiment equipment and facilities, and participated
in the experiments as subjects.</span><br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">REFERENCES<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[1] Rec. ITU-R BS.775-2, Multichannel stereophonic sound
system with and without accompanying picture, ITU, 2006<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[2] M. Sawaguchi et al, Surround Sound Handbook, Tokyo
Geidai Press, 2010<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[3] M. Sawaguchi, Current Topics on Surround Sound, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Pioneer Corporation R&D No18, 2008<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[4] A.Fukada, Surround Sound viewed from the perspective of
playback environment, InterBEE Forum, 2006<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[5] Recommendations For Surround Sound Production, NARAS,
2004<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[6] S.Yoshikawa et al, Proposal for the Specification of
Control Rooms for HDTV Multichannel Sound Program Production, 100<sup>th</sup> AESConvention,
1996<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[7] H. Suzuki et al, Study on Optimum Rear Loudspeaker
Height for 3-1 Reproduction HDTV Audio, 95th AES Convention, 1993<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[8]Olive Sean et al., Interaction between Loudspeakers and Room
Acoustics Influences Loud Speakers<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">Preferences in Multichannel Audio Reproduction, 123rd AES
Convention, 2007<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman";">[9]Geoff Cumming and Sue Finch. "Inference by Eye:
Confidence Intervals and How to Read Pictures of Data" American
Psychologist. 2005.<o:p></o:p></span></div>
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<br />
<br />
BIO of WG Member<br />
<br />
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<span lang="EN-US" style="font-family: "Times New Roman";"><br />Currently, He is funder of Hi-Res Music Label <b>UNAMAS</b> to product Hi-Res surround/stereo music. http://unamas-label.net/.</span><br />
<span lang="EN-US">Mick (Masaki) Sawaguchi graduated in 1971 in electronics
from the Chiba Institute of Technology and joined the Broadcasting Engineering
Department of NHK (Japan Broadcasting Corporation) as an engineer. By the 80’s,
he was already a highly respected figure, both within NHK and in the audio
engineering industry. He was an officer of the AES Japan section until 2010.
Currently, he is president of Mick Sound Lab, which is a HD surround sound
production. Also, he has a surround sound design class at TOKYO UNIVERCITY of
the Arts and Nagoya University of the Arts. He has had many books on surround
sound production published in Japan, China and Korea. He has contributed to
many AES Conferences by presenting several technical papers on surround sound
mixing and microphone techniques since 1991. He is a Vice-Chairman of the AES
Studio Practices and Production Committee. In 2002 he was awarded an AES
Fellowship Award for his outstanding contributions to the fields of surround
sound recording and mixing for broadcasting. Other awards he has been honored
to receive include: ABU Best Paper at 2004 as surround broadcasting program
production, a Surround Master Award by JAS, 2005, an AES JAPAN Award for his
Contribution of Surround Terakoya activity, 2009, a JAS Award for a study of
evaluation of home theater surround, 2012. He has chaired or participated as
panelist in several workshops or sessions at AES Conventions/Conferences, SMPTE
Conferences, IBS/IBC Conferences, and INTERBEE. He has also delivered lectures
on surround sound recording in countries all over the world.<span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman";"><span lang="EN-US" style="font-family: "Times New Roman";">Shinji Koyano graduate from Electronics Engineering
Department of Tokyo Denki University in 1975, and joined Pioneer Corporation. At
the Loudspeaker Engineering Department of the corporation he designed and
developed loudspeaker systems. In 1993 he got engaged in research on
loudspeaker system and audio signal processing as manager of Acoustic Research
Section of the Corporate Research and Development Department. Since 2005, he
has been engaged in activities related to education and promotion of audio
engineering, in and out of Pioneer. He is a member of Acoustic Transducer
Standards Group, JEITA (Japan Electronics and Information Technology Industries
Association), the head of the Surround Sound Working Group, JAS (Japan Audio
Society), the secretary of 1-bit Audio Consortium.<o:p></o:p></span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman";">
</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman";"><span lang="EN-US" style="font-family: "Times New Roman";">His contribution in activity to AES includes: the Paper
Chair in the 11th AES Tokyo Convention, 2003, the Paper Chair in the AES Japan
Conference, 2006, the Convention Chair of the 13th AES Tokyo Convention, and
the Chair of the AES Japan Section from 2007 to 2008. He was awarded a Board of
Governors Award in 2009 for his successful presiding over 13th AES Tokyo </span>Convention. He is also a member of ASJ (Acoustical Society
of Japan).</span></div>
<span lang="EN-US" style="font-family: "Times New Roman";">
<!--EndFragment-->
</span>
<br />
<div class="Section3">
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<span lang="EN-US" style="font-family: "Times New Roman";">Masami “Sam” Toyoshima graduated from Waseda University in
1964 with a Master Degree of Engineering. On graduation, he joined JVC’s Audio
Lab. At JVC in 1977 he started designing recording studios, along with his
colleague Hiroaki “Bike” Suzuki. In addition to JVC’s Studio, he designed major
studios throughout Japan including Warner Music, Onkio Haus, Roland, On Air,
West Side, etc. Meanwhile, in UK in 1985, he established Acoustics Design Group
with an architect, John Flynn, Bike Suzuki and a producer/engineer, Hugh <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman";">Padgham. He designed major studios in London, including
Abbey Road, Town House, Olympic, Metropolis, Sarm West, and so on. He has done
more than 250 music-recording facilities worldwide. From 2001 he has been
teaching acoustics, as Professor at Yokkaichi University. He received an AES
Fellowship Award in 2011 in London. He is a member of the AES, Acoustic Society
of Japan, Institute of Electronics, Information and Communication Engineers,
The Virtual Reality Society of Japan, and is an advisor to the Japan APRS. He
presented some technical papers at the past AES Conventions and Conferences.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman";">Kazuhiko Terui joined Sony Corporation in 1978. He was
engaged in designing AVsurround amplifiers and tuners at the Audio Component
Design Division. In 1990, he was transferred temporarily to CBS Sony
Corporation to have some experience in the field of music production through
working in the Japanese music division. After getting back to Sony, he worked
in the Product Promotion Division, Overseas Sales Division, then was deeply
involved in the strategy of promoting SACD, and worked aggressively to enrich
the list of SACD titles. Currently he is the Chairman of the Audio Network
Business Committee, JEITA (Japan Electronics and Information Technology
Industries Association).</span></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';">Bike Hiroaki Suzuki graduated from Tohoku University with a
bachelor degree in electrical engineering in 1970, and joined JVC to get
involved in the field of architectural acoustic design. Design projects he
worked on with his boss, Sam Toyoshima, includes Townhouse Studio, Abbey Road
Studios, and Metropolis Studios which are all located in London. In 1997 he was
appointed as Chairman of WG-4 of DVD Forum, which was responsible for producing
the new audio format, DVD-Audio Specifications. In 2001 he was awarded an AES
Fellowship Award in recognition of continued contribution to acoustics and
studio design as well as his leading role in the development of DVD-Audio.</span></div>
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<!--EndFragment-->Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-7248232769406342652014-01-15T21:52:00.000-05:002014-01-23T02:19:20.244-05:00On the Surround Recording of Orchestra at the Funkhaus Berlin Nalepastrasse [Special report]
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Kazuya Nagae </span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Music Culture Creation Department, </span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Nagoya University of the Arts’ School of Music </span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 18px;"> </span><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia01.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKa8rm4GGLD_KmCITAEInnCKSMrnLgJQ94rlsf-0BsdlBM-aXd9M0z45hm28eqBATkFmuQDfthrxFF0TxIT-GMPQkagpOcWV9gzSblMR2f3lgWQYa1JlIM5okEF_1Bl737Rws3ocVl8pP/s1600/Nalepastr_Polyhymnia01_s.jpg" /></a></div>
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<strong><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">1.OVERVIEW</span></strong><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This is a report on the production of a SACD, “Beethoven: Overtures,” performed by the <a href="http://www.kammerphilharmonie.com/" target="_blank">Deutsche Kammerphilharmonie Bremen</a> with conductor <a href="http://www.paavojarvi.com/" target="_blank">Paavo Järvi</a>. It was released as a Hybrid SACD with surround sound and CD-DA layers on the RCA Red Seal/Sony label on July 24, 2013. While this release was recorded in two different venues, this is a report of the recording session for The Creatures of Prometheus, Coriolan, and Fidelio overtures, which took place at the <a href="http://de.wikipedia.org/wiki/Funkhaus_Nalepastra%C3%9Fe" target="_blank">Funkhaus Berlin Nalepastrasse</a> in December 2013. The recording of the Leonore, Egmont, and Consecration of the House overtures was carried out by the same recording team at Friedrich-Ebert-Halle Hamburg in 2010.</span><br />
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<strong><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">2.RECORDING</span></strong><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The recording was executed in DSD surround format, engineered by Jean-Marie Geijsen of Polyhymnia International BV, a recording company that became independent from Philips Classics Recording Center in 1998.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
<strong><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">3.BACKGROUND OF THE PRODUCTION</span></strong><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The Deutsche Kammerphilharmonie Bremen is one of the world’s most eminent chamber orchestras, founded by a group of virtuoso music students in 1980, and Paavo Järvi, who has been serving as the artistic director of the orchestra since 2004. From 2004 through 2008, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen were engaged in the “Beethoven Project,” in which they performed and then recorded all the Beethoven symphonies in surround sound DSD format. This new release of “Beethoven Overtures” took place as a part of that project, and their serious dedication to Beethoven has resulted in tremendous international recognition and acclaim. Nowadays it has become less common to record an orchestra in studio sessions due to its great expense, so it is very important that the recording is produced for surround sound in a hall with such a wonderful acoustic. The recording was directed by Philip Traugott, a music producer who has served for productions of numerous classical CDs, and recorded by Jean-Marie Geijsen, the balance engineer. Having collaborated for many years, they showed really excellent teamwork.</span><br />
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<strong><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">4.VENUE OF THE RECORDING</span></strong><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The recording took place at the Große Sendesaal 1 in the Funkhaus Berlin Nalepastrasse, which used to be a national broadcasting facility of the former East Germany from 1956 through 1990. This facility is located on the banks of the Spree River in Köpenick, about 12 kilometers southeast of central Berlin. After the unification of East and West Germany, its function as a broadcasting facility ended and it evolved into a world famous sound recording venue. There are 4 large, medium, and small halls and 2 studios suitable for pop and rock music, and the recording this time took place in the largest hall that is most suitable for orchestra recording. According to a Tonmeister from former East Germany, importation of music from foreign countries was restricted by DDR governmental control, but various musics from pop to classical were recorded in the facility and made available to the public.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.nalepastrasse.de/en/" style="color: #073763; text-decoration: none;" target="http://www.nalepastrasse.de/en/">Funkhaus Berlin Nalepastrasse</a><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia02.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia02_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia03.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia03_s.jpg" height="413" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Layout of Hall and Studio </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">© </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Studio Presse Verlag GmbH from 10.2007 Studio Magazine</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">According to Das Funkhaus: “Stammhaus” von Rundfunk-Orchestern written by </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Dipl. Ing. </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Gerhard Steinke, a sound engineer from former East Germany, the hall was designed with the idea that the height of the ceiling needs to be more than twice as long as the width between the walls in order to gain an ideal acoustic for musical performance, as at the Musikverein in Vienna or the Jesus-Christus-Kirche Dahlem in West Berlin. Steinke says that the average length of reverberation in the hall is about 2 seconds and that the middle-low range frequencies, which influence clearness of instrumental sound, tend not to be masked because of the studio’s unique frequency characteristic of reverberation length, called “S-form.” Like an “S” turned sideways when shown in a polygonal line, it shows a decrease of reverberation in the range between 125 Hz and 250 Hz, and the reverberation in the range lower than 150 Hz realizes a connection of the space which is necessary for surround sound. (“Nalepastrasse (Nalepa Street),” by which the venue is often referred to, is the name of an 80-meter long street which connects the facility and the main street.)</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia04.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia04_s.jpg" height="274" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">from Das Funkhaus= „Stammhaus“von Rundfunk-Orchestern </span></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">© </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">Dipl. Ing. Gerhard Steinke</span></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia05.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia05_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>5.RECORDING METHODS AND EQUIPMENT</strong></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Equipment system for the recording this time is shown in Figure 1. All the equipment was brought in from the Netherlands by Polyhymnia’s carrier vehicle. The control room, an adjacent empty work room near the studio, was created using a DAW system by MERGING Technologies Pyramix as the main equipment. A TASCAM DM-3200 console was set for fader control, B&W Nautilus 803 was set as a L/R monitor, and B&W Nautilus 805 was set as a C/LS/RS monitor. The microphone amplifier was Philips’ custom model, developed especially for Philips Recording Center, and it was A/D/D/A converted by Emm Labs ADC8 MK IV & DAC8 MK IV, converted by multi-recorded in 24-Track DSD.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Equipment System (Figure 1)</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia06_Equipment.pdf" target="_blank"><img alt="Equipment" border="0" src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia06_Equipments.png" height="498" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">Equipments</span></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><table border="0" style="width: 500px;"><tbody>
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<a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK.jpg" style="color: #073763; text-decoration: none;"></a><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia07.jpg" style="color: #073763; text-decoration: none;" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia07_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" />Control Room</a></div>
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<a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3.jpg" style="color: #073763; text-decoration: none;"></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"><small></small></a><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia08.jpg" style="color: #073763; text-decoration: none;" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia08_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" />Surround LS</a></div>
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<a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK.jpg" style="color: #073763; text-decoration: none;"></a><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia09.jpg" style="color: #073763; text-decoration: none;" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia09_s.jpg" height="349" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" />EMM Labs ADC8 MK IV / DAC8 MK IV</a></div>
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<a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia10.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia10_s.jpg" height="352" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3.jpg" style="color: #073763; text-decoration: none;">Special Microphone Preamps by Philips</a></div>
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</span></span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>6.ARRANGEMENT OF THE MICROPHONES</strong></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Microphone arrangement for the recording this time is shown in Figure 2. After its own longtime study, Polyhymnia uses Polyhymnia 5 OMNIS, which sets 5 omni-directional microphones arranged in placement imitating ITU-R BS775, a placement arrangement of surround speakers. However, this time, because the product was going to be released as a SACD hybrid disc with both a surround sound layer and a stereo sound layer, the main microphone was equipped with 2 open cardioid Schoeps Mk22s placed in X-Y stereo configuration as C-L/C-R instead of just one C microphone on the Polyhymnia Surround Array. As the stereo image is narrowed down if the C=Mono component is localized in the center when mixed for stereo, the main microphone was arranged in this way in order to make it possible to mix surround sound material and stereo sound material in the best way for both materials by localizing C-L/C-R in L-R to prevent the orientation of the sound material to be narrowed down in stereo mixing and by combining C-L/C-R into mono and localizing it in C. Spot microphones included B&K 4011, 4006, Schoeps Mk4, and Neumann KM140, and they were arranged to make it possible to gain sound from requisite spots by just placing adequate directional microphones for the recorded instruments’ radiation characteristics at proper position. In addition, Polyhymnia says it modifies amplifier circuits in the main units of the microphones so that the output of all the different types of microphones are adjusted to the same levels.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Microphone Arrangement (Figure 2)</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia11_MicSetup.pdf" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia11_MicSetup.jpg" height="707" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="572" /></a></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia12.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia12_s.jpg" height="358" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia13.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia13_s.jpg" height="330" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia14.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia14_s.jpg" height="333" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 18px;"><a href="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia15.jpg" target="_blank"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia15_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>7.POST PRODUCTION</strong></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Post production was carried out at the Polyhymnia studio in the Netherlands, and following are some details of the post production I found out by interviewing Mr. Jean-Marie Geijsen.</span><br />
<ol>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The editing score was marked by producer Philip Traugott in New York, and then the score was faxed to Polyhymnia’s studio. </span></li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The editing was done at Polyhymnia by Everett Porter, (who started the “Beethoven Project” as a balance engineer before Jean-Marie Geijsen took over), who also did a first mix, in stereo which was sent back to Philip Traugott in New York.</span></li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">For a detailed final edit and mix, Paavo Järvi, together with Philip Traugott and Everett Porter, did a 2-day playback session with all original DSD material on location in Bremen, Germany.When the conductor was happy with the musical result and the stereo sound, Everett made a surround mix at Polyhymnia, and finally both the stereo and surround DSD files were sent to the authoring studio. </span></li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">During mixing and mastering no compression or other dynamic tools were used. </span></li>
</ol>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>8.CONCLUDING REMARKS</strong></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Staying in Berlin as a Nagoya University of Arts’ overseas research personnel, I have engaged in recordings of classical music and worked on my researches on tonmeister education. Thanks to a number of different people’s hospitality, I was able to observe many recording sessions. This particular recording project was carried out as a summing-up of the recordings of all the Beethoven symphonies that Paavo Järvi and the Deutsche Kammerphilharmonie Bremen have been working on. It is definitely not an easy task, and I could see that the project was only made possible by the efforts and will of the conductor, the orchestra, the label, the recording staff and good communication between them to produce a great work. Furthermore, the hall in Nalepastrasse had wonderful acoustics, and I felt it is very meaningful that the session took place in such an ideal venue for a surround sound recording.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Lastly, I would like to thank Mr. Jean Marie Geijsen who gladly granted me an approval to publish this report on the recording on Surround Terakoya.</span><br />
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<tr><td height="64" width="220"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<a href="http://www.sonymusicshop.jp/m/arti/artiShw.php?cd=80000927" style="color: #073763; text-decoration: none;"><img src="http://kazuyanagae.com/20131212report_Polyhymnia/jpg/Nalepastr_Polyhymnia17.jpg" height="200" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="200" /></a></div>
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<a href="http://www.polyhymnia.nl/" style="color: #073763; text-decoration: none;"></a></div>
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SACD Infomation</div>
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Beethoven: Overtures</div>
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Deutsche Kammerphilharmonie Bremen</div>
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Conductor : Paavo Järvi</div>
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Released: 24 July 2013</div>
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Label: Sony Classical SICC-10190</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">1.The Creatures of Prometheus (Die Geschöpfe des Prometheus) Overture Op.43</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">2.Coriolan Overture Op.62 </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">3.Fidelio OvertureOp.72c</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">4.Leonore Overture No.3 Op.72B</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">5.Egmont Overture Op. 84</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">6.The Consecration of the House (Die Weihe des Hauses) Overture Op.124 </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Credits</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Recording :</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">1.2.3 on December 18-20,2012 at Funkhaus Berlin Nalepastrasse</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">4.5.6 on July 19-21,2010 at Friedrich-Ebert-Halle, Hamburg</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Produced by Philip Traugott (<a href="http://www.philiptraugott.com/">www.philiptraugott.com</a>)</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Balance Engineer : Jean-Marie Geijsen (<a href="http://www.polyhymnia.nl/" target="_blank">Polyhymnia International</a>)</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Recording Engineer : Roger de Schot (<a href="http://www.polyhymnia.nl/" target="_blank">Polyhymnia International</a>)</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Editing : Everett Porter & Ientje Mooj (<a href="http://www.polyhymnia.nl/" target="_blank">Polyhymnia International</a>)</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Exective Producers : <a href="http://www.kammerphilharmonie.com/" target="_blank">Deutsche Kammerphilharmonie Bremen</a> & <a href="http://www.paavojarvi.com/" target="_blank">Paavo Järvi</a></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 18px;">℗&©</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> 2013 Deutsche Kammerphilharmonie Bremen.</span></span></div>
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Profile<br />
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Director & Balance engineer</h3>
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Jean-Marie Geijsen</h3>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Jean-Marie is one of the balance engineers at Polyhymnia International . He has worked with many top classical artists, including Alfred Brendel, Ricardo Muti, J.E.Gardiner, Valeri Gergiev, Seiji Ozawa, Fabio Luisi, and Ivan Fischer. He has also recorded two albums for Andrea Bocelli, "Opera arias" and "Sacred Arias". Jean-Marie studied audio recording at the Royal Conservatory in The Hague between 1984 and 1988, specializing in classical music with a special interest in baroque music.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Translated by Hitoshi Sugie</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-fe.amazon-adsystem.com/e/cm?t=surroundterak-22&o=9&p=8&l=as1&asins=B00D1B8QZQ&ref=qf_sp_asin_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe></span><span class="Apple-style-span" style="font-family: Times;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-fe.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=surroundterak-22&o=9&p=8&l=as1&m=amazon&f=ifr&ref=qf_sp_asin_til&asins=4904049144" style="height: 240px; width: 120px;"></iframe></span></span></div>
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Anonymoushttp://www.blogger.com/profile/14434738881420467548noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-87018618012628177032013-12-03T16:33:00.001-05:002014-01-21T19:05:13.677-05:00On the Surround Recording of Orchestra at the Jesus Christ Church in Dahlem Berlin [Special report]
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<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Times, 'Times New Roman', serif; line-height: 18px;">Nagoya University of the Arts’ School of Music </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Times, 'Times New Roman', serif; line-height: 18px;"> </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /><strong>1. OVERVIEW: </strong><br />This is a report on the session recording, with performance by <a href="http://www.dso-berlin.de/" target="_blank">Deutsches Symphonie Orchester Berlin</a> (DSO) with a soloist, <a href="http://www.tabeazimmermann.de/" target="_blank">Tabea Zimmermann</a>, viola, for production of SACDs, “Hindemith: Complete Viola Works Volume 1,” co-produced by <a href="http://www.myriosmusic.com/" target="_blank">Myrios Classics</a> and <a href="http://www.deutschlandradiokultur.de/" target="_blank">Deutschlandradio Kultur</a> (DLR). The recording took place at the Jesus Christ Church in Dahlem Berlin in August, 2012.</span><br />
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<strong>2. THE LABEL AND RECORDING:</strong><br />Myrios Classics is a label, established with a concept, “to provide excellent music in high quality format to the listeners,” by Mr. Stephan Cahen, who studied musicology at Ruhr-Universität Bochum and sound engineering at Robert Schumann Hochschule Düsseldorf, in Mainz, a southwestern German town, in 2009. The label has released CDs with performances by such artists as Tabea Zimmermann, viola, and Hagen String Quartet. In the recording, Tonmeister (musik regie/music director) was Mr. Stephan Cahen, from Myrios Classics, and Toninggenieur (ton regie/balance engineer) was Mr. Thomas Monnerjahn from DLR.</span><br />
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<strong>3. CONTENTS OF SACD AND BACKGROUND ON THE PRODUCTION: </strong><br />2013 is the 50th year after Hindemith’s death. Born in Hanau, Germany, Hindemith is a composer who wrote over 600 works, and he is famous for writing not only symphonies and operas but also works for almost all kinds of instruments in a symphony orchestra. Since Hindemith himself was a violist, he wrote many works for viola and orchestra. Out of his works for viola and orchestra, following 4 works were recorded in the session:</span><br />
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Trauermusik for Viola and String Orchestra (1936)<br /> Kammermusik No. 5, op. 36 no. 4/ Viola Concerto (1925)<br /> Konzertmusik for Viola and Large Chamber Orchestra Op. 48 (1930)<br /> Der Schwanendreher for Viola and Small Orchestra (1935)</span><br />
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DLR, a German public broadcaster, co-produces various recording products of the classical music, and it produces master recordings in collaboration with other labels. DLR’s way of co-production is to provide its recording technique, recording personnel, and facilities for the production and to release the product for sale through outer labels. Many of the recordings take place in Berliner Philharmonie, Konzerthaus Berlin, Siemensvilla, and the Jesus Christ Church in Dahlem Berlin, where the recording took place this time. Due to its poor profitability, it has become uncommon to perform an orchestra recording by sessions, and more master recordings are produced by compilation of takes from live recordings and rehearsal recordings. However, this recording was performed in a session style for 6 days, and thankfully, I was able to be present at this precious occasion.</span><br />
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<strong>4. RECORDING VENUE:</strong><br />The recording took place at the Jesus Christ Church in Dahlem Berlin, located in southwest part of the City of Berlin, for 6 days. The church has excellent chamber acoustics, and it is well known that Karajan and Berlin Philharmonic Orchestra did several recordings in this church in 1960s. Early reflection sound is rather dark, and it felt like the length of reverberation was approximately 2 and a half seconds. It can be described, “sound gradually vibrates” as the reverberation attenuates. DLR owns a control room, regularly equipped with recording equipment, in this church. Because this recording was for making a master recording, co-produced by DLR, the control room was used for the recording.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>5. RECORDING METHODS AND EQUIPMENTS:</strong><br />Figure #1 shows the equipment system. Since the recorded materials were for SACD, released by Myrios Classics, microphones were set in an arrangement for surround audio recording. DLR’s recording equipment included YAMAHA DM2000 Console, Merging Technologies Pyramix DAW. YAMAHA AD824 HA/ADC for 24 channels was set up in the church, and audio signals were to be transmitted through MADI optical connection with MADI Audio Service in this system. Monitoring speakers for surround sound, Musikelectronic geithain RL 903 for L/C/R and Musikelectronic geithain RL 905 for LS/RS were also regularly equipped in the control room. In addition to the pre-existing system, Myrios Classics brought in two Digital Audio Denmark AX24s as HA/ADC, and they were connected to YAMAHA AD824 via AES/EBU. The master clock was provided from the primary Digital Audio Denmark AX24, and the recording was operated in 48kHz/24bit.</span><br />
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<small>Equipments (Figure #1)</small></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Equipments</span></div>
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<a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR03.jpg" target="_blank"><img alt="YAMAHA DM2000" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR03_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a></div>
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Console : YAMAHA DM2000</div>
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DAW : Merging Technologies Pyramix</div>
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<a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR05.jpg" target="_blank"><img alt="Digital Audio Denmark AX24" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR05_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a></div>
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HA/ADC : Digital Audio Denmark AX24</div>
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<a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR06.jpg" target="_blank"><img alt="Sonodore Microphones" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR06_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a></div>
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Mic PSU : Sonodore Microphones</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><br /></b><span class="Apple-style-span" style="line-height: 18px;"></span></span></div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>6. ARRANGEMENT OF MICRPHONES: </strong><br />Figure #2 shows the microphone arrangement for the recording this time. In the conventional setting for a concert, the placement of solo violist is left side of the main microphones. In order to avoid it, the placement of the solo violist was set slightly towards the center. Main microphones were Gross A-B (large A-B) with Schoeps MK2S, Klein A-B (little A-B) with DPA 4006, an omni-directional microphone functioning with 60V phantom powering, and a Decca Tree with Sonodore Microphone RCM-402. For LS-RS, Neumann KM130s were set towards corners of ceiling in the church. This type of main system with Decca Tree and large/small A-B expands the possibilities in mixing after the recording, and I saw main systems in this style several times in recordings I observed in Germany. Spot microphones include Sennheiser MKH 80 for viola solo, Neumann KM84 for strings, Schoeps MK21 wide cardioid and Schoeps MK22 open cardioid for woodwinds, Neumann U89 for brass, and DPA4011 for timpani.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
Microphone arrangement: (Figure #2)</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/MyriosDLR_MicSetup.pdf" target="_blank"><img alt="Arrangement of Microphones" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/MyriosDLR_MicSetup.png" height="322" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /><span class="Apple-style-span" style="line-height: 18px;">Main Microphone System</span></span></div>
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<span class="Apple-style-span" style="color: #073763; font-family: Times, 'Times New Roman', serif; text-decoration: none;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR07-1.jpg" target="_blank"><img alt="Main Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR07-1s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR08-1.jpg" target="_blank"><img alt="Main Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR08-1s.jpg" height="328" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR08.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR09.jpg" target="_blank"><img alt="Main Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR09_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><br />Gross A-B, KleinAB</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR10.jpg" target="_blank"><img alt="Main Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR10_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><br />Surround LS</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Spot Microphones</span><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR11.jpg" style="color: #073763; text-decoration: none;"> </a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR11.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR11_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR12.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR12_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><br />Solo Viola : MKH80</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR13.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR13_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><br />Woodwinds : Schoeps Mk21&22</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR15.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR15_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a>Woodwinds : Schoeps MK22</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR16.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR16_s.jpg" height="375" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><br />Timpani : DPA 4011</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR14.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR14_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Contrabass : Neumann KM84<a href="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR17.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosDLR17_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br />Harp : Schoeps MK4</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /><span class="Apple-style-span" style="line-height: 18px;"></span></span></div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>7. POST PRODUCTION</strong><br />Following is I did interviewing Mr. Stephan Cahen (myrios classics):</span><br />
<ol>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">I really didn't do anything special during editing/mix. After the edit has been approved by the soloist and the conductor, I created the stereo and 5.0 (no LFE) mix for SACD hybrid purpose.</span></li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">No artificial reverb has been added, only minor EQ pushing.</span></li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">A time alignment of the spot microphones delays were set, especially to compensate the Sonodore tree to the mains.</span></li>
</ol>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>8. CONCLUDING REMARKS:</strong><br />Staying in Berlin as a Nagoya University of Arts’ overseas research personnel for a year from April, 2012, I have engaged in recordings of classical music and worked on my studies on tonemeister education. Meanwhile, I was able to observe many recordings thanks to variety of people’s favor. Hindemith was a composer who actively composed his works in Berlin and a professor who taught at the current Berlin University of the Arts. However, he was compelled to leave Germany because of the Nazis before the Second World War. It is quite emotive to see his works being performed by the orchestra in Berlin and recorded in Berlin.<br />I would like to acknowledge Mr. Stephan Cahen, Myrios Classics and Mr. Thomas Monnerjahn, DLR who both gave me their ready consent to contribute this article to Surround Terakoya Lab.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
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<a href="http://www.prestoclassical.co.uk/r/Myrios/MYR010#listen" style="color: #073763; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><img alt="CDinfo" border="0" src="http://kazuyanagae.com/20130706report_MyriosClassicsJCK/jpg/myriosSACD.jpg" height="178" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="180" /></span></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><a href="http://www.polyhymnia.nl/" style="color: #073763; text-decoration: none;"></a></span></div>
</td><td width="340"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><a href="http://www.myriosmusic.com/de/productdetail_MYR010.html" target="_blank">Hindemith: </a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><a href="http://www.myriosmusic.com/de/productdetail_MYR010.html" target="_blank">Complete Viola Works Volume 1 (MYR010) </a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.tabeazimmermann.de/" style="color: #073763; text-decoration: none;" target="http://www.tabeazimmermann.de/">Tabea Zimmermann</a> (viola)<br />Deutsches Symphonie-Orchester Berlin, Hans Graf</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">3rd June 2013, Number of Discs: 1<br />Format: Hybrid Multi-channel SACD<br /><a href="http://www.amazon.de/S%C3%A4mtliche-Werke-f%C3%BCr-Viola-1/dp/B00CP57CSG/ref=sr_1_1?ie=UTF8&qid=1386427054&sr=8-1&keywords=%28MYR010%29" target="_blank">Amazon de</a> <a href="http://www.amazon.co.uk/gp/product/B00CP57CSG/ref=s9_simh_gw_p15_d0_i1?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=1A0YDMZ4GB69FP6AN8R9&pf_rd_t=101&pf_rd_p=430153987&pf_rd_i=468294" target="_blank">Amazon uk</a> <a href="http://www.amazon.co.jp/%E3%83%92%E3%83%B3%E3%83%87%E3%83%9F%E3%83%83%E3%83%88-%E3%83%B4%E3%82%A3%E3%82%AA%E3%83%A9%E4%BD%9C%E5%93%81%E5%85%A8%E9%9B%86-%E3%83%B4%E3%82%A3%E3%82%AA%E3%83%A9%E3%81%A8%E7%AE%A1%E5%BC%A6%E6%A5%BD%E4%BD%9C%E5%93%81%E9%9B%86-HINDEMITH-SACD-Hybrid/dp/B00CP57CSG/ref=sr_1_fkmr0_2?ie=UTF8&qid=1386426997&sr=8-2-fkmr0&keywords=Hindemith%3A++Complete+Viola+Works+Volume+1+%28MYR010%29" target="_blank">Amazon jp</a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Der Schwanendreher concerto after old folk songs for viola & small orchestra<br />Trauermusik for string orchestra with solo viola<br />Kammermusik No. 5 Op. 36 No. 4 Bratschenkonzert for solo viola & large chamber orchestra<br />Konzertmusik Op. 48a for solo viola & large chamber orchestra (early edition)world premiere</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Recording Credits<br />Location : Jesus-Christus-Kirche Berlin-Dahlem August.2012<br />Executive Producer : Rainer Pöllmann (Deutschlandradio Kultur) & Stephan Cahen (<a href="http://www.myriosmusic.com/" style="color: #073763; text-decoration: none;" target="http://www.myriosmusic.com/">myrios classics</a>)<br />Recording Producer,Balance engineer & Digital Editing : <a href="http://www.myriosmusic.com/de/myrios.html" style="color: #073763; text-decoration: none;" target="http://www.myriosmusic.com/de/myrios.html">Stephan Cahen</a><br />Recording Engineer : Thomas Monnerjahn (Deutschlandradio Kultur)<br />Assistant Engineer : Maksim Gamov</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(P)2012 (C) 2013 A co-production of myrios classics & roc Berlin & Deutschlandradio Kultur</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Translated by Hitoshi Sugie</span><br />
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Anonymoushttp://www.blogger.com/profile/14434738881420467548noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-165544088839068252013-11-08T07:28:00.001-05:002014-01-20T19:36:17.373-05:00Surround Recording of Church Music ~ Heinrich Schütz Works [Special report]
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Kazuya Nagae </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Music Culture Creation Department, </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Nagoya University of the Arts’ School of Music </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor01_l.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZu226zdTAoh_ckVN_uJ0uDCfmTS0JA006RWWYX4ia4Z3l9NFT8vMpB-cVgznKSYmSLnyB-psmAd8kki3SOcyHGEDknn49rNUADR_OhYf332dx3hlwCIS4xmwcHfdSMB3jxxcd3a69gIAv/s1600/DresdnerKammerchor01_s.jpg" /></a></span><br />
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<a href="http://www.blogger.com/blogger.g?blogID=7506828774858462181" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://www.blogger.com/blogger.g?blogID=7506828774858462181" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="file:///Users/kn/Documents/NagaeDocument/Deutsch/%E5%A0%B1%E5%91%8A/Reporthtml/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor02_l.jpg" style="clear: right; color: #9900ff; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration: underline;"></a><a href="file:///Users/kn/Documents/NagaeDocument/Deutsch/%E5%A0%B1%E5%91%8A/Reporthtml/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor02_l.jpg" style="clear: right; color: #9900ff; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration: underline;"></a><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><strong>1. OVERVIEW: </strong><br />This is a report on the session recording of works of Heinrich Schütz, one of representative composers in the 16th century German early baroque music, for SACDs with surround layers. The performance is by Dresdner Kammerchor. The recording took place in Radeberg, a suburb of Dresden, Germany, from October 14 to 18, 2012. The recorded product was released as SACD hybrid discs with CD-DA layers by Carus Verlag on 3 Oct, 2013.<br />
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<strong>2. THE LABEL AND RECORDING:</strong><br />Established by Günter Graulich, a choral conductor, in 1972, Carus Verlag is a music publisher, which mainly focuses on church music, in Stuttgart. It has released such CDs with core church music as a complete works of Wilhelm Friedemann Bach, the eldest son of famous J. S. Bach. The recording was directed by Mr. Florian B. Schmidt and Mr. Aki Matusch, active Tonmeisters in Berlin.<br />
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<strong>3. BACKGROUND ON THE PRODUCTION: </strong><br />Heinrich Schütz was born in Thüringen, located in the central part of Germany, in 1585, exactly 100 years before J. S. Bach was born. He was an active composer, attached to a court orchestra in Dresden, and is described as “the father of German music.” The 400th anniversary of Schütz’s taking up an appointment as an exclusive composer for the court orchestra, Dresdner Kammerchor has been working on recording all Schütz’s works in 22 albums, and the recording this time was for the 10th album with Psalmen Davids SWV 22-47. Due to its poor profitability, it has become uncommon to perform an orchestra recording by sessions. However, there were 4 concerts scheduled in and around Dresden before and after the 4 days of recording. The matter of profitability was well considered and taken care of by scheduling concerts and recording session in the same period of time.<br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><b>4. RECORDING VENUE:</b></span></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">The recording took place at Stadtkirche zu Radeberg, a church on a low hill in Radeberg, the town famous for brewing Radeberger pilsner beer, located about 15 kilo meters north of Dresden. The church was built more than 400 years ago, and it is said that the church has had strong ties with music. Including the recording with Dresdner Kammerchor this time, many recordings has been performed in this church. Early reflection sound is rather dark, and it felt like the length of reverberation was approximately 2 and a half seconds.</span></span><br />
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<a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor02_l.jpg" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisTl6rzLFNkjhTx6U-3qrgyY86RpqLWG-Jga7N-MnXKU4TgsdU9SUcrjh_9pSqNvrdNCcpp0nuSbXdnTlYRcx7BhDYN449KJ-TDttDZABuODBWavhvFXM8KAQ3ltN3aRDa4DF9wS6TUmF2/s640/DresdnerKammerchor02_l.jpg" height="640" style="cursor: move;" width="425" /></a><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.kirchenmusik-radeberg.de/" target="_blank">Stadtkirche zu Radeberg</a></span></span><br />
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<b>5. RECORDING METHODS AND EQUIPMENTS:</b><br />
<a href="http://www.blogger.com/blogger.g?blogID=7506828774858462181" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://www.blogger.com/blogger.g?blogID=7506828774858462181" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="file:///Users/kn/Documents/NagaeDocument/Deutsch/%E5%A0%B1%E5%91%8A/Reporthtml/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor02_l.jpg" style="clear: right; color: #9900ff; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration: underline;"></a><a href="file:///Users/kn/Documents/NagaeDocument/Deutsch/%E5%A0%B1%E5%91%8A/Reporthtml/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor02_l.jpg" style="clear: right; color: #9900ff; float: right; margin-bottom: 1em; margin-left: 1em; text-decoration: underline;"></a>Figure #1 shows the equipment system. The system was mainly equipped with Merging Technologies Pyramix DAW, RME Micstasy Audio I/F, and RME Micstasy Head Amp, and there was no console in the system. Equipment was set in a priest’s office, and the office was used as a control room. Master clock was provided from the primary RME Micstasy, and the recording was operated in 44.1kHz/24bit/22 channels Multitrack Recording.(no sum was recorded.) Although the recording system had inputs for 22 channels since it was a surround session, they carried all the equipment on one Audi passenger car with only 2 people. It was really impressive for me.</span></span></div>
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<small>EQUIPMENTS (Figure #1)</small></span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor03Equipments.pdf" target="_blank"><img alt="Equipment" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor03Equipments.png" height="367" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span></div>
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<a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor04_l.jpg" target="_blank"><img alt="Grace Design m802" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor04_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a>RME Misctasy, Fireface UFX</div>
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<a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor05_l.jpg" target="_blank"><img alt="Merging Technologies Piramix" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor05_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a>Merging Technologies Pyramix</div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>6. ARRANGEMENT OF MICRPHONES: </strong><br />Figure #2 shows the microphone arrangement for the recording this time. Music from Schütz’s period often require a style of performance called “Antiphon,” in which performers are divided into more than 2 groups and play or sing at different places. This time, Favorit-Chor I and II with vocal soloists and basso continuo were placed at right and left sides in the front part of the church, and Capell-Chor I and II with choirs were placed at right and left sides in the rear part of the church. In order to make the effects of distances between the groups perceivable, the recording session was executed in the style of surround recording. Decca Tree with B&K 4006 was set as the main microphone, and B&K 4006 with a nose cone, which makes audio-frequency completely omni-directional, was set as LS-RS. Spot microphones include cardioids such as B&K 4011 for basso continuo at the front and Schoeps MK4 for instruments in the rear; as well as Schoeps MK22 open cardioids for vocal soloists and Schoeps MK21 wide cardioids for choirs. Placements of the spot microphones were well arranged, considering overlaps among the microphones, to pick up ideal sound from each spot microphone. What was impressive for me was that the engineers were taking delay on the Pyramix mixer by making sound pulses with something like a paper clip in front of each microphone and measuring time difference between waves of the main microphone and spot microphones in order to make it possible to adjust time alignment between the main microphone and spot microphones during intermissions.<br />
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Microphone arrangement: (Figure #2)</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor07_MicSetup.pdf" target="_blank"><img alt="Dresdner Kammerchor" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor07_MicSetup.png" height="575" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 18px;">Main Microphone System</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor09_l.jpg" target="_blank"><img border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor09_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br /><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor10_l.jpg" target="_blank"><img alt="Decca Tree" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor10_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br /><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor011_l.jpg" target="_blank"><img alt="LS RS" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor011_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br /><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor12_l.jpg" target="_blank"><img alt="Nose Cone" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor12_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br /><span class="Apple-style-span" style="color: #073763; line-height: 18px; text-decoration: none;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;">Spot Microphone System</span><span class="Apple-style-span" style="color: #073763; line-height: 18px; text-decoration: none;"><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor13_l.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor13_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span><br /><a href="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor14_l.jpg" target="_blank"><img alt="Spot Mic" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor14_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a><br /><span class="Apple-style-span" style="line-height: 18px;"><strong><br /></strong></span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong>7. CONCLUDING REMARKS:</strong><br />Staying in Berlin as a Nagoya University of Arts’ overseas research personnel for a year from April, 2012, I have engaged in recordings of classical music and worked on my studies on Tonmeister education. Meanwhile, I was able to observe many recordings thanks to variety of people’s favor. Schütz is a composer who actively composed his works in Dresden, and I felt it is quite in the nature of things that his works is performed by an ensemble in Dresden and recorded in the suburb of Dresden. Although the microphones for LS and RS, which are set in the rear in surround, were placed right by the altar of the church in this recording, voice of the vocal soloists, placed at right-front and left-front, was reflected by a round wall behind the altar and picked by those microphones quite well. From this, I could feel the stereoness effect that would not occur in a conventional concert hall but is peculiar in the church. This project is to record complete works of Schütz within 10 years. It is not easy thing to do, but I could feel that this project is supported by the good communication among the ensemble, label, and recording producing staffs. I would like to acknowledge Mr. Florian Schmidt and Mr. Aki Matusch who both gave me their ready consent to contribute this article to Surround Terakoya Lab.</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.carus-verlag.com/index.php3?selSprache=2&BLink=KKArtikel&ArtNummer=8325500"><img alt="CDinfo" border="0" src="http://kazuyanagae.com/20130705report_DresdnerKammerchor/jpg/DresdnerKammerchor15SACD.jpg" height="200" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="200" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.polyhymnia.nl/" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">SACD Infomation</span></div>
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<a href="http://www.amazon.de/gp/product/B00F6ETRIG/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=330045107&pf_rd_s=lpo-top-stripe&pf_rd_t=201&pf_rd_i=B00BJRWYD4&pf_rd_m=A3JWKAKR8XB7XF&pf_rd_r=1E48BJYZGAT2CGHJABCG" style="color: #073763; text-decoration: none;" target="http://www.amazon.de/gp/product/B00F6ETRIG/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=330045107&pf_rd_s=lpo-top-stripe&pf_rd_t=201&pf_rd_i=B00BJRWYD4&pf_rd_m=A3JWKAKR8XB7XF&pf_rd_r=1E48BJYZGAT2CGHJABCG"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Heinrich Schütz : Psalmen Davids</span></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">2013/10/4</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Format:Hybrid SACD, ASIN: B00G2XM5PM</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">infomation</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.carus-verlag.com/index.php3?selSprache=2&BLink=KKArtikel&ArtNummer=8325500">Carus-Verlag online</a></span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.amazon.de/Sch%C3%BCtz-Psalmen-Davids-Gesamteinspielung-Vol-8/dp/B00F6ETRIG/ref=sr_1_6?s=music&ie=UTF8&qid=1386277996&sr=1-6&keywords=Chor+%3A+Dresdner+Kammerchor">Amazon.de</a></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Credits</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Heinrich Schütz : Psalmen Davids</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Chor : <a href="http://www.dresdner-kammerchor.de/" style="color: #073763; text-decoration: none;" target="http://www.dresdner-kammerchor.de/">Dresdner Kammerchor</a></span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Orch : Dresdner Barockorchester</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Dirigent : Hans-Christoph Rademann</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Soprano : Birgit Jacobi , Isabel Jantschek, Dorothee Mields, Marie Luise Werneburg</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Alto : David Erler, Stefan Kunath</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Tenor : Tobias Mäthger, Georg Poplutz</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Bass: Stephan MacLeod, Felix Schwandtke</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Recording Team: Florian B. Schmidt, Aki Matusch</span></span></div>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(C) 2013 Carus-Verlag GmbH & Co KG</span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Translated by Hitoshi Sugie</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-fe.amazon-adsystem.com/e/cm?t=surroundterak-22&o=9&p=8&l=as1&asins=B00F6ETRIG&ref=qf_sp_asin_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe></span><span class="Apple-style-span" style="font-family: Times;"> </span><span class="Apple-style-span" style="font-family: Times;"><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-fe.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=surroundterak-22&o=9&p=8&l=as1&m=amazon&f=ifr&ref=qf_sp_asin_til&asins=4904049144" style="height: 240px; width: 120px;"></iframe></span><span class="Apple-style-span" style="font-family: Times;"></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-44243548941400529862013-06-09T23:18:00.000-04:002014-03-30T06:33:44.877-04:00Latest Trends of Digital Cinema Sound - What I See in the Steps of Digital Cinema Sound [ Special Report ]<!--[if !mso]>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Constantia;">By Masaaki Fushiki</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span lang="EN-US" style="font-family: Constantia;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="EN-US" style="font-family: Constantia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZV-nTC9sA_IDJ7cFGXX-XLRlkN07Erxc8mOV3i978lx4kn_CJZnmIjFI9P2RT0f2l4hEg5IcxUnPT9tXEEiXwl_FLPdRZ5XMDChF89rlU3h5r6bm1RWptyTd9KKm_BCsXtZeICdMQWsuW/s1600/mf_profile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZV-nTC9sA_IDJ7cFGXX-XLRlkN07Erxc8mOV3i978lx4kn_CJZnmIjFI9P2RT0f2l4hEg5IcxUnPT9tXEEiXwl_FLPdRZ5XMDChF89rlU3h5r6bm1RWptyTd9KKm_BCsXtZeICdMQWsuW/s200/mf_profile.jpg" height="200" width="200" /></a></span></div>
<span lang="EN-US" style="font-family: Constantia;"><o:p></o:p></span><br />
<span class="Apple-style-span" style="font-family: Constantia;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraph" style="margin-bottom: 20.0pt; margin-left: 12.0pt; margin-right: 0mm; margin-top: 0mm; mso-list: l11 level1 lfo8; mso-para-margin-bottom: 1.0gd; mso-para-margin-left: 12.0pt; mso-para-margin-right: 0mm; mso-para-margin-top: 0mm; text-indent: -12.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">I. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">Méliès<br />
</span><span lang="EN-US" style="font-family: Constantia;">A few Georges Méliès
films were shown last December in a small event facility, Le Studio Hermès in Ginza
where they had a proper projection room equipped with a couple of 35mm film
projectors. The pictures were actually shown via Betacam on the day, but its
quality was quite agreeable and I enjoyed the abundant appeal of 100-year old
special effects by <i style="mso-bidi-font-style: normal;">the pioneer</i>.
Méliès himself was one of key characters in the recent well-crafted 3D movie
“Hugo” as many of you already understand. This movie was truly a respectable
masterpiece for me having myself been associated with filmmaking even only
slightly. These two movies related to Méliès illustrate how the motion pictures
evolved incessantly by absorbing then-the-latest technologies. <o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-bottom: 20.0pt; margin-left: 12.0pt; margin-right: 0mm; margin-top: 0mm; mso-list: l11 level1 lfo8; mso-para-margin-bottom: 1.0gd; mso-para-margin-left: 12.0pt; mso-para-margin-right: 0mm; mso-para-margin-top: 0mm; text-indent: -12.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">II. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">Digital Cinema<br />
</span><span lang="EN-US" style="font-family: Constantia;">85% of total 42,000
cinemas in USA is now digital thanks to VPF (Virtual Print Fee) arrangement. Major
studios used to prepare 6000 film copies of premium summer hit titles for
distribution, but only 500 would suffice nowadays.<span style="mso-spacerun: yes;"> </span>Looking at the worldwide penetration, the digital cinema
ratio is as high as 69% as of end 2012, therefore “digital” is already a firm
foundation along with the 3D feature, and the industry seems to continue their
effort introducing more technological advancements such as 4k picture (including
laser projectors to follow) and HFR. This is inevitable because the industry is
always concerned about their differentiation against home entertainment. The
departure from 24fps tradition in the digital domain may not be a tough
challenge considering the films are rarely used in the productions today and
the frame-rate accommodation would be relatively easy in video projectors. The
forthcoming “Avatar 2” promises 60fps/4k release to attract some excitement.<br />
Those advancements are on the other hand a kind of specification upgrade rather
than a radical paradigm shift beyond digital cinema. Does the industry steer
their focuses in this direction? Well, it would become obvious for us to
realize that the digital cinema movement was realistically driven by the
economy and efficiency aspects inherent with the digital media, more so than
the picture-quality issues. DCP (Digital Cinema Package) allowed the film
industry to reduce a great amount of time, cost of films and transportation in
generating distribution prints. It also eliminated the process of telecine that
was necessary for the content transfer into video packages and broadcasts. A
substantial improvement in the production efficiency.<br />
The trend in cinemas has shifted from large auditoria to cinema complexes in
the recent years, which enabled them to program all the shows they schedule
simply by presetting on the control panel instead of masculine loading and
unloading of films each time. Each screen tends to be small enough for using 2k
projectors with perceivably sufficient picture quality even though its
specifications are not much different from those of digital home video, which
also helped the progress. <br />
The high hurdle for alternative contents has been eliminated by the digital
format’s nature: About 4 years ago, l’Opera Comique produced the stage of
Bizet’s “Carmen” conducted by John Eliot Gardiner with the original libretto,
and its last performance was shown in 45 digital cinemas throughout France, and
I thought it an excellent example of alternative contents. The same kind of
arrangements is shown in Japan now, and theater owners call it “live viewing”
enabling them to charge more admissions than those of regular movies. We can
understand that the industry has just arrived at a reasonably mature format of
digital just as consumers once decided the direction between film cameras and
digital cameras, and thus the industry is now in the stage for enhancing the
format with some step-up technologies.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 12.0pt; mso-list: l11 level1 lfo8; text-indent: -12.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">III. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">Sound<br />
</span><span lang="EN-US" style="font-family: Constantia;">Cinema sound kept
evolving roughly every 10 years starting with Dolby Stereo in mid 70’s,
followed by Dolby SR in 80’s. The introduction of digital was late in the movie
industry to wait until 90’s, and at that time some sort of compression coding
was employed each with Dolby Digital, DTS and SDDS. DCI then set forth the
standard of discrete PCM sound in 5.1/7.1 formats. The intermediate step of
Dolby SR before Digital Cinema that continued more than a decade was the
valuable time to complete the soil exchange of the entire movie industry during
which time the productions gradually invested in the digital environment while
cinemas only executed partial changes in their system. <br />
When I posed a philosophical question like “what is the movie in essence”, the
engineers in Dolby almost immediately answered, “it is a story-telling” as
their common understanding. It starts from a script in the director’s hand, and
every single staff or technology is expected to support the story in the
script. The <i style="mso-bidi-font-style: normal;">story-telling</i> aspect of
sound mixing had been traditionally rather rigid with center-fixed dialogs, the
modest balance of sound effects or music against dialogs. The surround effects
were required strictly ambient in order not to attract the audience attention
toward elsewhere off-screen, which was a reliable practice to generate a sense
of being there under the limitation of matrix 4-channel surround format without
damaging the story’s quality. <br />
This model of self-maintenance has loosened itself a bit in the digital cinema paradigm
though, as the trend set more freedom to dialogs’ stereo localization, as
typically found in Pixar animation movies, and more dynamic and precise
surround sound along with discrete 5.1 channel penetration. Particularly in
Dolby Surround EX and later formats, they intended to allow out-of-screen
localizations in contrast to the ambience, and this direction is ultimately
pushed further by the latest introduction of Dolby Atmos.</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoListParagraph" style="margin-left: 12.0pt; mso-list: l11 level1 lfo8; text-indent: -12.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">IV. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">Dolby Atmos<br />
</span><span lang="EN-US" style="font-family: Constantia;">Introduced at the
CinemaCon 2012 in Las Vegas last April, Dolby Atmos technology is probably the
largest revolution in the history of movie sound. In Dolby Atmos system
framework, it saves dialogs, sound effects and music in DCP as 128 audio
objects that are rendered into as many as 64-channel outputs to suit the
theatrical playback system. Hugely different number of channels compared to 5.1
or 7.1 is aimed to achieve the reality of sound sensation unattainable before
in order to further enhance the immersiveness into the story. The workflow of
this complex structure can be efficiently simplified in the production process
thanks to the concept of audio objects.<br />
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<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcBfVLEJKTjii69C18AT20oax4EO06UK3sRR1l6ZVp61pN3xfEWNiVGqmn3cw1f_84uysHKmAToaX22QhTKCuzpaixLjV77l0nVBEPtXCUH_vnQuRx43ULDKve30ZzjvNF35kJHWLeKTdF/s1600/Atmos_E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcBfVLEJKTjii69C18AT20oax4EO06UK3sRR1l6ZVp61pN3xfEWNiVGqmn3cw1f_84uysHKmAToaX22QhTKCuzpaixLjV77l0nVBEPtXCUH_vnQuRx43ULDKve30ZzjvNF35kJHWLeKTdF/s400/Atmos_E.jpg" height="281" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dolby Atmos System Flow</td></tr>
</tbody></table>
<br /> Let’s look into the playback section to begin with. Dolby Atmos provides 2 new
features to improve the sensation of sound: One is to add the height with a
group of ceiling top speaks, and the other is the surround imaging that changed
from wall surfaces by speaker arrays to point source of each individual
speaker. <br />
Such nature sound around us as airplane fly-over, bird’s chirping, or thunder
has certain directionality, and there has been limitations in their
reproduction in the film sound. In the days of Lt/Rt matrix, we basically had
on-screen or unlocalized out-of-screen sound (“<i style="mso-bidi-font-style: normal;">interior</i>” we used to call it for the latter) and the panning
between their contrasts was the expression of an object’s crude move. Even
later in the time of discrete 5.1, the difference in the timbre and
localization between highly linear screen speakers and surround arrays was so
profound that the solid sound imaging or panning to reveal its tonality was not
practically desirable except for something rather instantaneous. Traditionally,
the theatrical system used to define the surround space in 3 elements of left
side, right side and back walls, but Dolby Atmos regards the listening space as
a cube or a hemisphere and buries as many speakers as possible in it, each
functioning as an individual audio channel whereby the directionality and the
uniformity of timbre can be dramatically improved. The recommended ceiling
speakers do not form a single common channel in array either. They consist 2
lines front to back, lefty and righty, again each functioning individually,
driven by unique, separate amplifier for each. <br />
With the above change, much more colorful effects in the movie sound mixing are
attainable. For example in a jungle, a variety of animals and insects may be
heard from all sorts of directions in clear, crispy tones by giving full
freedom to engineers’ creativity. The quality of panning will be also improved.
It should be noted that the traditional ambient effects are still available in
the new format by rendering them to multiple speaker outputs just as they used
to.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy0OFFgwC-_D3vtk8SEyEL5x5NQTFLBziBIvw48ik-MhT7VIF9Z5sqTeMZYa7Mthm6oWT60Ok2YxIpvLSvmmavQ7-1mLRQ1VHoK3Gk3yv5dDEAtshIcs_Ljz1dX_tIxsReEeHuzMpBDgtY/s1600/atmos_layoutshot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy0OFFgwC-_D3vtk8SEyEL5x5NQTFLBziBIvw48ik-MhT7VIF9Z5sqTeMZYa7Mthm6oWT60Ok2YxIpvLSvmmavQ7-1mLRQ1VHoK3Gk3yv5dDEAtshIcs_Ljz1dX_tIxsReEeHuzMpBDgtY/s400/atmos_layoutshot.jpg" height="400" width="391" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dolby Atmos Speaker Layout</td></tr>
</tbody></table>
<br />
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One more related change in the theater system is the addition of surround
speakers closer to the screen in sidewalls. They help localizing the sound in
the very far end out of the screen and also smoothing the object’s panning
around.<br />
The surround speakers are required to stand up as an individual in their technical
specifications. The frequency response and the power handling are particularly
important when cinemas consider renovating their system for Dolby Atmos
introduction. Still, the ceiling and surround speakers remain physically
smaller than front speakers, and Dolby Atmos wisely redistributes low frequency
elements to the rear sub-woofer(s) and tries to manage the power balance
between the front speakers and the surround speakers by means of plural speaker
rendering for the latter.<br />
<br />
Next is the impact in the post-production environment. The most significant
change brought in with Dolby Atmos to the studio engineers is the way to handle
sound elements as objects. Dolby Atmos generates the information of where and
when in the system hemisphere each object is placed as a metadata that is saved
in a package with the object. This workflow is almost homogeneous with that of
ProTools on workstations, and therefore it is like saving the production
procedures themselves into the final mix with Dolby Atmos. <br />
The movie production is not an exception where ProTools has become the
mainstream in use, and the environment offered by Dolby Atmos with the freedom
of specific number of output channels functionally unifies the entire process
of post-production, therefore it is not the complication brought in nor the
same high hurdle is mandated to the system in cinemas identically to dubbing
theaters. When the sound engineer mixes a movie with Dolby Atmos in the dubbing
theater equipped in its maximum playback specifications, a precise 5.1 mix (or
7.1) is automatically generated and saved into DCP in parallel with the Atmos
mix, eliminating the need for repeated, separate works. This single common DCP
package is distributable to variety of digital cinemas with different playback
specifications. The scalability feature of Dolby Atmos here plays an important
role: Even if a cinema cannot afford a few tens of speaker channels, Dolby
Atmos will intelligently take the particular playback environment into account
to render its output in a way to maximize and fit the sound mix. This type of
care about backward compatibility has been a Dolby tradition. <br />
“It was like having a new instrument” quoted a sound engineer regarding Dolby
Atmos. Or it can be said it is like a pallet for drawing new paintings. There
are some useful information in the net about how the studios faced with this
new system and brought it into their production procedures as shown below, for
example:<br />
</span><span lang="EN-US"><a href="http://designingsound.org/2012/11/ambiences-with-dolby-atmos/"><i style="mso-bidi-font-style: normal;"><span style="font-family: Constantia; letter-spacing: -.5pt; mso-fareast-font-family: "ヒラギノ角ゴ ProN W3";">http://designingsound.org/2012/11/ambiences-with-dolby-atmos/</span></i></a></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Constantia; letter-spacing: -.5pt; mso-fareast-font-family: "ヒラギノ角ゴ ProN W3";"> <br />
</span></i><span lang="EN-US"><a href="http://vimeo.com/58805489"><i style="mso-bidi-font-style: normal;"><span style="font-family: Constantia; letter-spacing: -.5pt; mso-fareast-font-family: "ヒラギノ角ゴ ProN W3";">http://vimeo.com/58805489</span></i></a></span><span lang="EN-US" style="font-family: Constantia;"><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 12.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 12.0pt; mso-list: l11 level1 lfo8; text-indent: -12.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">V. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">IOSONO 3D and AURO-3D<br />
</span><span lang="EN-US" style="font-family: Constantia;">A competing format with
Dolby Atmos is IOSONO 3D that was developed by Fraunhofer, a giant organization
known as codec specialist, and this system may be more futuristic in its
concept. Audio objects and rendering through multiple speakers to cover the
spherical space are the common factors with Dolby Atmos, but its approach to
realize the sound localization is based on a totally new theory: Wave Field
Synthesis that captures the sound source through an array of multiple
microphones and reproduces it with the same kind of speaker array around the
space. IOSONO’s unique features are the wide sweet spot and the ability of
localizing the sound at any point within the sphere, for example as close as
next to you. With such significant advantages, they claim it the true 3D
soundscape format.</span><span lang="EN-US" style="font-family: Constantia;">
The drawing shown below illustrates an example of cinema installation with
IOSONO system. According to IOSONO, a typical 1:2 box auditorium would need 9
speakers in front behind the screen and also 9 in the back to yield total 54
speakers to form a single-layer horizontal ring. In addition, recent installations
have 15 to 18 ceiling speaker channels by using triangulated array for the
ceiling zone. For the timbre matching and sufficient power handling of the
speakers in the designs, they cooperate with such speaker manufacturers as
D&B, Fohhn, JBL, Meyer and QSC. For example in the Chinese Theatre in
Hollywood, QSC KW-151 for the screen and K-12 for surround are installed.</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTmraklLwMXYrjjbgCd3eG64Z8z3XS719Dec5wETp63rtBChsn7CashpZIYtLYQ4qgiYwTbB6DmzCCAQpiT3G2sspsRJp1iNfir7NXzu5uL4XAzl5zvG0-YMGKJUsWXKVZGk6ODFpxDU9/s1600/IOSONO+Cinema+Setup.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTmraklLwMXYrjjbgCd3eG64Z8z3XS719Dec5wETp63rtBChsn7CashpZIYtLYQ4qgiYwTbB6DmzCCAQpiT3G2sspsRJp1iNfir7NXzu5uL4XAzl5zvG0-YMGKJUsWXKVZGk6ODFpxDU9/s400/IOSONO+Cinema+Setup.jpg" height="175" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">IOSONO Speaker Layout</td></tr>
</tbody></table>
<br />
<div class="MsoListParagraph" style="margin-left: 12.0pt; mso-list: l11 level1 lfo8; text-indent: -12.0pt;">
<span lang="EN-US" style="font-family: Constantia;"> Auro-3D is another new-comer, promoted by Barco, that extends the traditional
5.1 into a 2-layer format: 4-channels excluding Center and LFE are stacked up
on the 5.1 foundation to structure total 9.1 channels, or 10.1 with the ceiling
channel addition. 6.1/7.1 can be extended to 12.1/13.1 in the same manner.
While the traditional surround formats contain only one horizontal line of speaker
array, Auro-3D adds the vertical dimension to realize a 3D soundfield. The
installations and productions are happening since last year, and its
back-compatibility to the traditional layout is quite straightforward.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold"; mso-bidi-font-family: "Trebuchet MS Bold"; mso-fareast-font-family: "Trebuchet MS Bold";"><span style="mso-list: Ignore;">VI. </span></span><!--[endif]--><span lang="EN-US" style="font-family: "Trebuchet MS Bold";">Gimmick and Essence<br />
</span><span lang="EN-US" style="font-family: Constantia;">Along with the recognition
that the movie is essentially a story-telling, my own contemplation about the
movie is that it is an effort of work to construct a space to experience the
story. This may be only a matter of expressing the same differently, but while
the former is a structural framework to work on the logic and the sentiment,
the latter is a physiological communication with the audience in my opinion. It
may be something like a phase difference between the intellect and the
instinct. It is literally the sense of existing in the screen rather than being
seated in a cinema, or from the viewpoint of movie producers the effort to
drive the audience to such an illusion. When the movie was first shown, the
viewers were horrified with a steam locomotive dashing to them and they tried
to get out, and this is exactly the evidence of a physiological space.
Technologies like large screens, surround sound and 3D imaging all aimed this.
The latest motion simulator falls in the same gender.<br />
What is the decision factor for these technologies to end its life as a gimmick
or to remain steadily as an essential part of moviemaking? As the intellect and
the instinct exist, there are 2 different approaches in the realism of imaging
art. One is to capture the scene with a fixed camera sustainably for a long
period of time just like a fixed-point observation. The other is very cinematic
“montage” technique that edits different cuts to structure a story and drives
it forward. As for the sound, there are no formulas in terms of how it needs to
go along these approaches. Sound effects and music often continue independently
of the transition of scenes. Surround sound is not a form of technology to
recreate the acoustic dimensions of each scene precisely from the opening to
the finale. It goes along with the scenes to a certain extent, but carries its
own montage ups- and-downs to enhance the stage, and it exactly looks like an
established style of “sound designing”.<br />
3D has much longer history than surround, but repeated its gimmicky cycles in
the past for a few times. Personally, I think 3D is exactly the identical
technology in imaging to surround, and thus can perform at least equally to 5.1
especially in digital. On the other hand, I feel the immersive sensation is
often greater in huge 2D screen that entirely occupies the viewing angle. I
also feel a lack of style in 3D except simply dimensional from beginning to
end. These two factors might be its challenge to tackle. In that sense, it is
an interesting subject how 3D would digest the live viewing that I previously
noted.<br />
One answer that I arrived at in this process of thinking is that excellent
contents feed technologies. It is my feeling of reality that potentially a
gimmick technology can trace the road to become an essence if it continues to
enjoy the benefit of being used in excellent contents. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Constantia;">Above include
purely personal observations about the movies and the technologies in the days
of digital, and I hope this serves even slightly the readers for their better
understanding of the subject. I would like to acknowledge and thank Mr. Doug
Greenfield of Dolby Burbank, a long time colleague of mine, and also Mr. Jeff
Levison of IOSONO. Both of them helped me clarifying a few factual aspects of
latest information.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Wingdings;">J<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Trebuchet MS"; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">About the Author:<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Constantia; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Masaaki
Fushiki was born in 1948 and graduated from University of Tokyo majoring French
language and literature. After 5 years of experience in the sales promotion and
product planning in the Overseas Department of TEAC Corporation, he joined
Dolby in 1979 as a liaison licensing staff and initiated promoting the concept
of surround sound for home entertainment in 80’s. He also devoted himself in standardizing
the digital audio format of DVD-video in 90’s. In 1997, he establish the branch
office of Dolby’s international service company in Japan, and formed it into
Dolby Japan K.K. as a legal local entity in 2007. He was the first
representative director of the company until he resigned in 2009.<o:p></o:p></span></div>
<!--EndFragment-->Mick Sawaguchihttp://www.blogger.com/profile/12864432927191921629noreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-64649460218863639422013-01-25T05:01:00.000-05:002014-01-21T19:06:05.531-05:00Orchestra Surround Recording in Berlin [Special report] <div style="line-height: 18px;">
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<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Times, 'Times New Roman', serif;">Nagoya University of the Arts’ School of Music </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Times, 'Times New Roman', serif;"> </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This is a report on a production of <i>Richard Wagner Tannhäuser</i> a set of 3 SACDs, performed by<i>Rundfunk-Sinfonieorchester Berlin</i> (<a href="http://www.rsb-online.de/" target="_blank">Berlin Radio Symphony Orchestra</a>), under the baton of Marek Janowski, and produced by <a href="http://www.pentatonemusic.com/" target="_blank">Pentatone Classics</a> in collaboration with <i>Deutschlandradio Kultur</i>(DLR), a public radio broadcaster in Germany, which took place at <i>Berliner Philharmonie </i>in May, 2012. The product was released on SACD hybrid discs with surround sound and CD-DA layers on December 20, 2012.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Pentatone Classics, originated from Philips Classics, is a Dutch record company established in 2001. Its label is known as a high quality sound oriented label that has released all its titles on SACD hybrid discs, and the label is also esteemed as a prestigious label that has released many splendid performances of world class artists, including Kent Nagano, Paavo Järvi, and Julia Fischer. The recording sessions by Mr. Jean-Marie Geijsen, <a href="http://www.polyhymnia.nl/" target="_blank">Polyhymnia International BV</a>, a recording company that also originated from Philips Classics Recording Center and became independent in 1998, and a recording team from DLR.</span></div>
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<b><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">3. BACKGROUND ON THE PRODUCTION</span></span></b></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Toward its 10<sup>th</sup> anniversary in 2011, Pentatone Classics had decided to conduct an unprecedented project to record Wagner’s 10 major operas (listed below), all performed by the same conductor, orchestra, and choir. <i>Rundfunk-Sinfonieorchester Berlin</i> (RSB) and <i>Rundfunkchor</i> (Berlin Radio Choir) became to perform the operas as parts of their concerts over 3 seasons, and DLR, the parent institution of the orchestra and the choir, co-produced it with Pentatone and Polyhymnia. They performed a live recording in the concert, as well as rehearsal recordings for a few days prior to the concert, and all the 10 operas are to be released by the end of 2013, the centennial of the birth of Wagner.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">1. Der fliegende Holländer November 9th - 13th, 2010</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">2. Parsifal April 4th - 8th, 2011</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">3. Die Meistersinger von Nürnberg May 30th - June 3rd, 2011</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">4. Lohengrin November 8th - 12th, 2011</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">5. Tristan und Isolde March 23rd - 27th, 2012</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">6. Tannhäuser May 1st - 5th, 2012</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">7. Das Rheingold November 18th - 24th, 2012</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">9. Siegfried February 25th - March1st, 2013</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">10.Götterdämmerung March 10th - 15th, 2013</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Due to its poor profitability, it has become uncommon to perform an orchestra recording by sessions, and more master recordings are produced by compilation of takes from live recordings and rehearsal recordings as it was this this time. The rehearsal schedule in this project was carefully planned to achieve both successful performances and excellent recordings at a time.DLR, a German national public radio broadcaster, co-produces various recording products of the classical music. “Co-production” literally means to produce master recordings together with others. When DLR co-produces its products with somebody, it provides its recording technique, recording personnel, and facilities for the purpose of radio broadcasting the produced work, and release of the product for sale is undertaken through outer labels. DLR has co-produced more than 200 recordings since 2006.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN-US">http://www.audire-online.de/</span><br /><span lang="EN-US"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN-US">The underlying fact for this would be considered that DLR is the largest shareholder of <i>Rundfunk Orchester und Chöre GmbH </i>(roc berlin), the parent institution of </span><i><span lang="DE">Deutsches Symphonie-Orchester Berlin </span></i><span lang="DE">(</span><span lang="EN-US">DSO), </span><i><span lang="DE">Rundfunk-Sinfonieorchester Berlin</span></i><i><span lang="DE"> </span></i><span lang="EN-US">(RSB), <em>Rundfunkchor</em>, and <i>RIAS Kammerchor</i>. roc berlin is funded by DLR, holding 40% of its shares, the Federal Government of Germany, holding 35% of its shares, the City of Berlin, holding 20% of its shares, and </span><i><span lang="DE">Rundfunk Berlin-Brandenburg </span></i><span lang="DE">(</span><span lang="EN-US">RBB)</span><span lang="DE">, holding 5% of its shares. Hence, it can be said that these ensembles are quasi-public broadcasting performing group.</span><br /><span lang="DE"><br /></span><span lang="DE">The recording team for the project was organized with DLR’s recording staffs, <i>tonmeister </i>(sound producer), <i>toningenieur</i> (</span><span lang="EN-US">balance engineer</span><span lang="DE">), and <i>tontechniker</i> (sound technician) and Pentatone Classics‘ staffs, producer, <i>toningenieur</i>, and <i>tontechniker</i>. Although it was a quite large-sized team, teamwork among them was remarkable.</span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The recording was performed at <i>Berliner Philharmonie</i>, a concert hall built in 1963, in Berlin from May 1 to 5, 2012. The venue, commonly called “<i>Philharmonie</i>” is a hall in Vineyard-style, in which a stage is located at the center of the hall and surrounded by audience seats. The seating capacity of the hall is 2,440, and the reverberation time is about 2 seconds when the hall is filled to its capacity. There is a recording and relay broadcasting control room, managed by<i>Philharmonie </i>and DLR and RBB, on the top floor of the hall. As DLR was a co-produced of this master production, the recording was operated by using this control room.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Berliner Philharmonie</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Besides the system normally equipped in Philharmonie, Recorder MERGING Technologies Pyramix, HA Grace Design m802, DAC Prism Sound Dream ADA-8, Benchmark Media Systems AD2408-96 were brought into the room by Polyhymnia. Audio from the main microphone array, for surround sound for SACD, is sent through HA Grace Design m802 and analog-digital converted by Prism Sound Dream ADA-8. Other audio channels from spot</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">microphones are sent through a branch point, where lines for radiobroadcasting are separated, and analogdigitalconverted by Benchmark Media Systems AD2408-96. The master clock from DCS 904, andtherecordingwasoperated in 88.2kHz/24bit.</span></div>
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<small><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaEquipment.pdf" style="color: #073763; text-decoration: none;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">Equipment System(Figure #1)</span></a></small></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr1.jpg" target="_blank"><img alt="Stagetec AURUS" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr1_s.jpg" height="160" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr1.jpg" style="color: #073763; text-decoration: none;"><small>Stagetec AURUS</small></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr1.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" target="_blank"><img alt="Grace Design m802,Prism Sound Dream ADA-8" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2_s.jpg" height="160" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"><small>Grace Design m802,Prism Sound Dream ADA-8</small></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3.jpg" target="_blank"><img alt="Grace Design m802" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3_s.jpg" height="160" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr3.jpg" style="color: #073763; text-decoration: none;"><small>Grace Design m802</small></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr4.jpg" target="_blank"><img alt="DCS 804,Benchmark Media Systems AD2408-96" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr4_s.jpg" height="160" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><small style="color: #073763; text-decoration: none;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr4.jpg" style="color: #073763; text-decoration: none;">DCS 804,Benchmark Media Systems AD2408-96</a></small><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaCr2.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The arrangement of microphones for the recording is shown in Figure #2. As the performance was going to be air played on May 12, 2012, a week after the recording, and to be released in SACD hybrid discs about a half year later, so there were two main microphones set. One was for stereo sound, and another was for surround sound.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; text-decoration: none;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaEquipment.pdf" style="color: #073763; text-decoration: none;">Abstract of The Plyhymnia Array</a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArray2.jpg" target="_blank"><img alt="PolyhymniaArray2" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArray2_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaRSBAll.jpg" target="_blank"><img alt="PolyhymniaArray3" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaRSBAll_s.jpg" height="334" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="500" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK.jpg" target="_blank"><img alt="L-C-R Neumann KM130 SBK" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><small>L-C-R Neumann KM130 SBK</small><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaSpot.jpg" target="_blank"><img alt="Spot mic Schoeps CCM21, CCM4 etc" border="0" src="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaSpot_s.jpg" height="167" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(221, 221, 221); border-left-style: solid; border-right-color: rgb(221, 221, 221); border-right-style: solid; border-top-color: rgb(221, 221, 221); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0898438) 1px 1px 5px; cursor: move; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="250" /></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaArraySBK.jpg" style="color: #073763; text-decoration: none;"><small>Spot mic Schoeps CCM21, CCM4 etc</small></a><a href="http://kazuyanagae.com/20130210report_Polyhymnia/jpg/PolyhymniaSpot.jpg" style="color: #073763; text-decoration: none;"></a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Schoeps MK3S A-B was set for radio stereo, and Polyhymnia Array was set for surround. The Plyhymnia Array, called “5 OMNIS,” was devised by Polyhymnia after its independent research and development over years, and the arrangement of the microphones in the array is alike ITU-R BS775, common arrangement of surround speakers. LCR was an omni-directional Nuemann KM130 with spherical SBK, which adds directivity in high frequency of 4kHz, installed on it. In order to uniform the output gains of the microphones even when types of the microphones vary, Polyhymnia modifies amplifier circuits in bodies of the microphones. There were about 24 spot microphones, mainly including Schoeps CCM series, suspended from the sealing, and Schoeps CMC series, set with stands on the stage. Most microphone capsules were cardioid CCM4s, and wide cardioid CCM21s were selected for the string sections. The arrangement of microphones was well planned to obtain requisite sound from each spot by placing the microphones with the most suitable directivities for each instrument’s sound radiation characteristics at the most appropriate positions.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">On another note, it is said that the same main microphone is used and it is always recorded in surround sound in every recording operated by Polyhymnia no matter in what types the performance is, whether it is an orchestra performance like this time or a piano solo.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><span lang="EN-US">7. POST PRODUCTION</span></b>Post production was carried out at the Polyhymnia studio in Netherland, and following is what I found out by interviewing Mr. Jean-Marie Geijsen:</span></div>
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<ol><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">The total duration of the sound product, a set of 3 SACDs, would be about 3 hours. 6 days were spent in editing work, and 5 days were spent in mixing work.</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">I always mix first and only the stereo version since this is much more difficult and more critical then the surround version.</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">The 5 microphones in the main microphone array for the surround sound and the Polyhymnia array were assigned to channels, L, C, R, LS, and RS, without making any changes.</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">Surround mix and stereo mix with different panning and maybe 1 to 2 dB more Main system. Offstage effects like trompets in the auditorium are sometimes remix for surround.</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">LFE channel was not used because they consider that LFE is a sort of effect, which may be used in films but should not be used in music. The reason is that LFE is a channel that is cut when down-mixed; that the level of LFE is difficult to adjust; and that it is susceptible to acoustics of the room.</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">LCR panning of the spot microphones was NO phantom centre, only panning between LC and CR. (Center percentage 100%)</li>
<li style="margin-bottom: 0.25em; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-indent: 0px;">A time alignment of the spot microphones was performed.</li>
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<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">8. CONCLUDING REMARKS</span></b></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Staying in Berlin as a Nagoya University of Arts’ overseas research personnel, I have engaged in recordings of classical music and worked on my studies on <i>tonemeister</i> education. Meanwhile, I was able to observe many recordings thanks to variety of people’s favors.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN-US">In Berlin, where 4 symphony orchestras and 3 opera houses reside, concerts are happening somewhere in the town every day; many of them are radio broadcasted; and some sort of recording sessions are performed in churches and halls in the town almost every day. These facts made me realized it is a <i>city of music</i> and a </span><i><span lang="EN-US">city of sound recording</span></i><span lang="EN-US">.</span><br />In one night of concert, about 2,000 audiences at the maximum can share the music performed and sympathize with it. By recording the concert in surround sound, we can pass on the music to across the world and over time, and I got an idea of the significance of the sound recording anew.<br /><br />This project was to produce SACDs of Wagner’s 10 operas in 3 years. It is not an easy work in any sense, and I was able to witness that the project cannot be accomplished without efforts that the orchestra, the recording company, and the producing staffs put in and intention and communication to produce an excellent work among them.<br />I’d like to thank Deutschlandradio Kultur, Mr. Jean-Marie Geijsen, Polyhymnia from my heart for granting me a permission to publish this article on <i>Surround Terakoya</i>.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> SACD Infomation<br /><br /> <span class="Apple-style-span" style="font-size: large;"><a href="http://www.pentatonemusic.com/product/153" target="_blank">Tannhauser Richard Wagner</a> </span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> Rundfunk-Sinfonieorchester Berlin,<br /> Rundfunkchor Berlin,<br /> Conductor : Marek Janowski<br /> Released: 20 December 2012<br /> Label: PentaTone<br /> ASIN: B0085BFW4K</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> <a href="http://www.amazon.co.jp/Tannhauser-R-Wagner/dp/B0085BFW4K/ref=sr_1_fkmr1_1?ie=UTF8&qid=1386284151&sr=8-1-fkmr1&keywords=Tannhauser+Richard+Wagner+pentatone" target="_blank">Amazon de</a> <a href="http://www.amazon.co.jp/Tannhauser-R-Wagner/dp/B0085BFW4K/ref=sr_1_fkmr1_1?ie=UTF8&qid=1386284151&sr=8-1-fkmr1&keywords=Tannhauser+Richard+Wagner+pentatone" target="_blank">Amazon jp</a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Credits<br />Executive Producer: Stefan Lang, Maria Grätzel, Trygve Nordwall & Job Maarse<br />Recording Producer: Job Maarse<br />Balance engineer: Jean-Marie Geijsen<br />Recording Team: Wolfram Nehls, Henri Thaon, Johanna Vollus, Maksim Gamov, Gunda Herke<br />Editing: lentje Mooij</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">BIOGRAPHY</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Director & Balance engineer: Jean-Marie Geijsen</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Jean-Marie is one of the balance engineers at Polyhymnia International . He has worked with many top classical artists, including Alfred Brendel, Ricardo Muti, J.E.Gardiner, Valeri Gergiev, Seiji Ozawa, Fabio Luisi, and Ivan Fischer. He has also recorded two albums for Andrea Bocelli, "Opera arias" and "Sacred Arias". Jean-Marie studied audio recording at the Royal Conservatory in The Hague between 1984 and 1988, specializing in classical music with a special interest in baroque music.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">From 1988 to 1990 he worked as a mastering engineer. In addition he freelanced as a classical recording and PA engineer. In 1990 he started working freelance for Philips Classics in Baarn as an editor and as a recording, remastering, and audio engineer. In 1996 was appointed to a full-time position as balance engineer for Philips Classics. Jean-Marie is very much involved with analogue electronics, and the audibility of electronics and cables.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Translated by Hitoshi Sugie</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-54686130611289696702011-04-30T05:01:00.010-04:002011-04-23T21:30:57.926-04:00The Road to Surround: Looking back my 35years of work<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm4Vh33qcMvERvu-yYEXdlhwZYk3JGrNKYgibiNxcWjhOhKf9_8JI90L9iPmGZYlH8Hc_moHnLp0Dwdfb-mjUCzRYSJJLiEisLZ6tD1SpTJRuFqGAe3gqOx4Ws_2h9fYU5dKY6CHWoEQ/s400/176135_10150104743779776_597744775_6115258_6497773_o.jpg" /><br />
<small>Photo By Ari Trofeo</small><br />
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Part 1: <a href="http://51terakoya.blogspot.com/2010/01/road-to-surround-35-years-mick.html">To acquire the skill for writing, listening, and talking</a><br />
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Part 2: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-2-sweet-potato.html">A sweet-potato-vine-style study method - to keep expanding questions in your workplace</a><br />
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Part 3: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-3-relationship-of.html">The relationship of a workplace and self-polishing "An extraordinary nail will not be hammered"</a><br />
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Part 4: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-4-efforts-to-tell.html">Efforts to tell the genuineness - A flog out of pond</a><br />
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Part 5: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-5-generalizing.html">Generalizing Your Routines</a><br />
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<a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-6-trigger-to.html"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5tfSY_PjKkN07JiMMldz70H2jrGHICTW9dRSZltu22djJvN_7-kF2et8_C9PleNOG1bBCqLz7usS_UI1V2qFDVmim4d42BeBVOdjwmyHqsvna7n77yJaCB2tbu-EenyM0TiGj0gI4Mg/s200/6-8.jpg" /></a><br />
Part 6: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-6-trigger-to.html">The trigger to the surround sound field - dissatisfaction is a new dynamo!</a><br />
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<a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-7-lets-build.html"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0aYbcD3sudyBsERdqStzPLgXmCrcsUU2V7iRETYCJGi60qRXzSbZFKMJBfir-Xw3vWwpPPo0Of_6C9EY-0oN7yU7mRyb69LCbZe0J_55CqiqzjbtvbGmX-4QOmLCe_e2QGnlTQ26lcg/s200/part7_CD-809_1.jpg" /></a><br />
Part 7: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-7-lets-build.html">Let's build a surround studio!</a><br />
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Part 8: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-8-from-3-1.html">From 3-1 Surround To 3-2, and Then 5.1 Channel</a><br />
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Part 9: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-9-surround.html">Surround Crusaders - to drive surround grow</a><br />
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<a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-10-steps-to.html"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivMj3dMI6lmsQmv10eUZEDZGQdIkylIqHVAcZXfVna0l92f5172pBRl5dpEz2M_1VDh_851juvtSM634oajYia9kvy4NCAeAvnSof1um6DE5m8MoZPtA1C1kdhYbRRZ5h6XcDkFI02kA/s200/%25E5%25A1%25BE%25E6%25B7%25B1%25E7%2594%25B0%25E4%25BC%259AOK_1.jpg" /></a><br />
Part 10: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-10-steps-to.html">Steps To Surround School-shed and the Next Generation</a><br />
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Part 11: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-11-special.html">Special Interview with Mr. Kazutsugu Uchimura</a><br />
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Part 12: <a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-12-special.html">Special Interview with Mr. Keimei Asami</a><br />
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[ <a href="http://51terakoya.blogspot.com/2011/01/index.html">Back to Index</a> ]Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7506828774858462181.post-59773519255526097952011-04-12T05:01:00.035-04:002011-04-20T00:13:20.909-04:00The Road to Surround – Part 12: Special Interview with Mr. Keimei AsamiBy. Mick Sawaguchi<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNwj5sUqMyLUdFUpdYFAr9PyWO7qhyphenhyphenayKZWYpk9V9ZSDltBI82QQGp9yILljDJe1HZltWWIl3sS-Dx1mT64TAWpNixXXIVndeCfHpa1AH371YgCCwBDGppIaPtjyGheHyIJqkUAJBQQ/s320/MICK-ASAMI+2S+UP.jpg" /><br />
<b>Sawaguchi:</b> As I have been issuing the articles in this series for one year, I thought I wanted to have the last round with Mr. Asami. I talked with Mr. Uchimura in the previous round. This time in the other end, I want to talk with the teacher of my life so-to-speak, that is Mr. Asami.<br />
The other day in the column called "Me and the Microphone" of the Federation of Specific Radio-Microphone Users, you wrote about your life briefly, and I thought it would connect well with this interview. Maybe most of the readers may not be so familiar with such details even if they know your name well. So first of all, could you tell us your career from the days when NHK was in Uchisaiwaicho?<br />
<b>Asami:</b> As you know, it was in 1952 when NHK began a stereo program and it was practically the world's first regular service. I think it was an indication that Japanese audience loved audio. The television had already begun then, and Hiromi Nakajima the Chief of sound adjustment at that time created a new role in the organization called "a mixer function". It had been a general engineer role before then. Therefore there existed a mixer function, and I entered NHK in 1955. However, it was only that year when the recruitment of mixers took place.<br />
S: Was it really one-off recruitment? How many people entered then?<br />
A: There were me and Yoshinori Ando. Mr. Ando was a graduate of the Tokyo University of the Arts, majored music theory, and later studied the flute in the Research Center, and then moved to Kyushu Art College of Engineering eventually stepped up to the President. Though he had a kind of unique educational career being the doctor of engineering graduated from a music college, and he started his job as a mixing engineer.<br />
S: Then only two people!<br />
A: But he belonged to the sound adjustment section only a year and then he was transferred to NHK Research Center. An electronic music studio was built for the first time in NHK when we just entered in 1955, and he was in charge of electronic music then. While investigating electronic music, he notices that one must analyze the musical instruments before synthesizing a new sound, which eventually drove him to study the flute in NHK Research Center. He was indeed a splendid senior colleague. <br />
You like new things, Mick, but I myself wanted to do some new thing, too. Because I devoted myself to the sound analysis of the musical instruments in my university days, I thought it was great to synthesize sound electrically. In the electronic music studio of NHK at that time, we had a theory that we can synthesize any kind of sound from sine waves by processing them infinitely; and in addition, by slicing white noise through filters infinitely, a sine wave must be generated. When this is achieved successfully, we are the winner, we thought idealistically. Coincidentally, it was the time when Moog started his synthesizer concept around that period.<br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHaVgJ2IiOfmwlm1iHykSxzq9OA_8it1CDZtjAmUXUvdvsigA-7yr-nv4uvrS99jlJipha-BfhCQGV_ZXH6Xtiz-sQrNOYBuZImgEy9HJNMK7rtiMYOlxW5p8fkX_aeXeDuIga7J93hw/s400/2b.jpg" /><br />
<small>Masaki Sawaguchi (author, left) and Mr. Keimei Asami (right)</small><br />
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S: Then did you do the electronic music relations mainly since you joined as a mixing engineer?<br />
A: Of course I was in charge of not only the electronic music but also the programs of stereo music and others. I did considerable number of drama programs, too. The mixer function disappeared in around 69 or 70.<br />
S: Was it because the television service started or what?<br />
A: The opinion was raised from television people that they did not like the idea of the dedicated function only given to mixing engineers. There should be similar arrangement for camera and lighting functions. <br />
In the beginning it started with the idea of dedicated staff for camera, lighting, and audio for the first time in NHK and the hope was to gradually interchange the duties among them. In the days of your time, location productions began, and we were looking into the pattern for one engineer to be able to do anything for himself in various ways.<br />
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<b>Italia Award by "Undine."</b><br />
And afterward executed the first multitrack-surround in Japan<br />
S: You won Italia Award by "Undine", didn't you?<br />
A: That's correct. We were awarded in the 1959 Art Festival with a music poetic drama titled "Undine" music by Akira Miyoshi and lyrics by Kyoko Kishida. The following year, we made this program in stereo and entered it in Italian Award and won the grand prix. This is a music and poetic drama that displays a tangle love in the fantastic world of water. The orchestra and an electric musical instrument called ondes martenot are wrapped by dialogs and chorus through the entire drama, and in addition such electric sounds generated from white noise through various filters and fine bleeps of various pulses actively appeared in the drama. The sonic image of the bubbles to sway and ascend in the water was created by manipulating electronic pulses.<br />
S: How did you process the electronic pulses?<br />
A: For example, I record various pulse sound in tape. I cut the tape in some 60cm long pieces and hold both ends by hand and rub it against the magnetic head of the recorder slowly. As I play it manually by delicately changing the speed, I hear something like "hwow-wow" and send the output to the echoic chamber, then the return sound is like "bwowoon-pharr" that gives an imaginary texture of bubbles. I store them on tape from top to end one by one, and have Mr. Miyoshi choose among them. Though it says electronic music, the work was very analogous. With the sound of traditional sine waves only, the resultant sound would be mechanical and lacks with emotions, I wanted to pursue a wet sound, and it consequently led to such a process. Have you listened?<br />
S: No, I haven't. But only heard the story.<br />
A: When we think about the electronic music itself, the sense of direction is very important and is effective because it is an inorganic sound. There was a composer called Xenakis in Norway or Sweden in Scandinavia, and with regard to him, there was a report that said when he composed an electronic music, he made use of multiple speakers. When I pan the white noise between 2 channels, it becomes as a beautiful panning and often displays an excellent surround effect depending on its sound. <br />
In creating sound in "Undine", echoes were effectively very important for the chorus of Naiad. I think that it was the very first time around 1959 that I did the after-recording having singers put an earphone in one of their ears. After the recording of an orchestra in old NHK hall of Tamuracho first, I output the chorus from speakers placed here and there, making it just about to cause feedbacks. Then I could capture an echo with a delicate expansion.<br />
The chorus became very rich and I think I wanted to bring out something that was sensed as surround. We won the grand prix of Italia Award in 1960, and in the following year we did a ballet based on tape in Sankei Hall, where I realized that the sound balance of the broadcast and that in a large auditorium are completely different; therefore I fine-adjusted the mix by running dialogs and music on separate tapes. And the next was in newly completed Cultural Center in Ueno at that time. We borrowed a 1/2-inch 3ch recorder from Sony and placed it in the orchestra pit as the main unit. Left and right channels of music were recorded in Ch1 and Ch3 respectively, and Ch2 was used for echoes only. In the orchestra pit were total 10 stereo or mono recorders and also mixers and effectors that I gathered, and what I did was surround as we say today. <br />
They did the public performance for four days, but the sound was always different and the balance, too. For the speaker system, I used 3 trumpet speakers to achieve clarity in dialogs; and for the orchestra I used 3 large-size cinema-purpose speakers. I used total 50 speakers for the ceiling, the back wall and others. I had the female chorus of the naiad spread out to the whole hall, and the electronic tones are heard here and there directionally from the ceiling or from the walls. They were really effective surround. I intended to design the sound configured considerably three-dimensional in this way. I believe that it was the very first kind of surround effort in Japan. Later on, 4ch records came to the market, and then FM Tokyo did the quasi-4ch broadcast afterwards.<br />
S: Oh, it was a program sponsored by Sansui, wasn't it? I remember it somehow.<br />
A: At that time the head of engineers was Mr. Fujishima, and he called me and Mr. Fujita of NHK Research Center to ask how the 4ch system by Tokyo FM was. I answered him something like "the multi-channel is very interesting, but the matrix system will affect negatively to the image of 4ch and I do not want to try it". Mr. Fujita also commented a similar thing. Taking this voice of Chief Engineer as a fair reason, we managed to buy a 4ch recorder and started a rather extensive research of 4ch recording. There are some types of music that suit with surround or not, I felt.<br />
While the pipe organ is superb, reverberant elements only from the back sound rather poor. If the music has been composed taking surround effect in to account for example "Requiem" by Berlioz in which a trumpet plays from the back or "The Tale of Genji in Picture Scroll" by Isao Tomita at Nagoya International Expo, the effect is obviously valid as it aims surround effect from the beginning. And then you became eager to do it in radio dramas.<br />
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<b>An inside story of a mixing console installation</b><br />
S: What about after "Uchisaiwaicho"?<br />
A: When the Broadcast Center of Shibuya was established, I think I made a considerable effort for the adoption of vertical attenuators, but the drama engineers were absolutely against it in the beginning saying the transitional sensitivity of the round shape attenuators was unbeatable in our questionnaire. Consequently in the end, they agreed to compromise with 50 mm wide and 100mm stroke faders.<br />
Though I wanted to use 30 mm width to allow more faders for music mixing, the attenuator which I produced experimentally for electronic music was 150 mm long with 35 mm width. Therefore it looks very graphical when the attenuators for music purposes line up in use.<br />
You recommended 50 mm, too.<br />
S: I suggested 50 mm wide and 120 mm long for post-production purposes. The stroke was the key. 50 millimeters for post-production and 40 millimeters for music. And 100 mm stroke for 40 mm faders. It was because the music is always critical in this neighborhood of the reference level. But the post-production goes down to the bottom and it will preferably need 20 mm more.<br />
A: in June, 68 the department structure was renewed from traditionally-classified radio/TV /film by media to single drama /serial drama /entertainment /music according to the programs, and we became responsible for TV and film in addition to radio that we used to have to be only in charge, and so we had to manage a 1200 square meter CT -101 studio for big music purposes that had, my God's sake, only 12 channels in the console! Coincidentally, it was about the time when I was thinking of becoming a freelance mixing engineer out of NHK.<br />
With the resignation letter in my pocket, I went to see Director Toyota accompanied by my boss to present my request for a bigger console, and if it did not work, then I thought I would hand him my resignation. The reaction was "okay I will leave it to you if you say so much about it"; and I lost the chance to quit NHK!<br />
That's how the first console came in from a foreign country that was 24ch Neve as the sub-console next to the main 40ch. You did so much love foreign consoles, too.<br />
S: I had a lot of criticisms for it being foreign-infective.<br />
A: No, I had more above and beyond. I kept being accused. High-level managers of those days had a concern in the microphone because only this was not made locally while all the other equipment for the TV were fully Japan made. They felt they had to bring up domestic manufacturers in Japan. But later on, it became fairy easy to use foreign products soon.<br />
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<b>Sprashing Drinks on Hot Argument</b><br />
A: By the way, when did you move back to Tokyo?<br />
S: It was 1976. I was originally supposed to move to a master function. I thought that it would take longer time for me to become a mixing engineer if I follow this assignment, and I expressed that I wanted to go to the production section. My director went upset asking "are you declining my preliminary notification?" Then he said "can you tolerate a little more while in this local station?", and I answered "I would" expecting to be stuck for around 3 more years.<br />
Then it was December, I recall, I was told that there was a department that could transfer me in a position, and I moved to Second Audio department where they did radio dramas.<br />
A: Did you want to do the dramas from the beginning? Wasn't it music that you were interested?<br />
S: I did jazz myself as a hobby, but I thought that I did something related to the sound in a difference world as my work in the broadcast. The radio drama is like the world of movies only with sound, isn't it? It involves music, sound effects, and dialogs, too. A wide range of things are there. I was wondering where I could find such a post, and heard that Second Audio department worked on the drama in Production Technology Center, so I applied. When we deal with audio only, don't we enjoy more freedom to consider lots of approaches because it allows various ways? I thought the audio-only media would be appealing. Naturally, I was often asked why I did not target TV toward the age of television.<br />
A: In those days, the time when I got to know you was when I had a project to decide the direction of our future mixing consoles in NHK.<br />
S: That's right.<br />
A: There, we argued a lot.<br />
S: We had never worked together with you. It was not the master-student relationship with us in terms of the works in NHK at all. But I was taken good care of by you, probably because our wavelength matched in various directions each other. It was mostly after 6:00 p.m. for me to learn from Mr. Asami. When it was about 6:00, the telephone rang and it said "Pronto, Sawaguchi!" And I was like a secretary carrying your brief case.<br />
Utchan and I talked about this in the last issue, but the thought not to be a person totally settled in the place like "Shibuya" was something that you always had been stressing for some time, too. I think that it was a big leap for me that you dragged us out in the night and opened the door to other broadcasting stations, music industry and manufacturers, all outside our organization in front of us.<br />
A: One thing I was not able to achieve is related to my inability of language handling. In your case, you improved your English significantly in Singapore. And you built international acquaintances that I could not manage. I really think that you did it very well.<br />
S: I was not good at the language at all from a beginning, too and almost hated it. But I made an effort of going to school for 3 years, a private Sunday school run by a church with hospital near Ogikubo. It was the basis for me to visit Singapore. And it served me as an extensive training there because I had to complete the work for myself. In contrast, my opponents handled Queen's English fluently. I seriously realized at that time that such a chance would continue to expand once you trigger an opportunity.<br />
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A: What we studied the least was English because I was in the third grade of junior high when the war was over, and for these three years we had student mobilization to factories. We were near Sagami Bay on the verge of enemy's landing, so we were busy building tochka pillboxes.<br />
It was so heavy for two of us to carry the packs of cement. <br />
Without learning English, I always had an inferiority complex toward English. Therefore for the entrance exam of the university and of NHK, I chose German through the study for myself. When I joined Otari, it was inevitable for me to handle English conversation, and I decided to visit the church just as you did. I went there for about 2 years, but anyway it was a mere beginner at 60. <br />
You know, I was in charge of the program called "World Music" in CT-101 studio from 1966, and the world's top entertainers came from overseas every time. I really thought it would have been marvelous if I could talk a little more with them. I actually did a little with my broken English.<br />
S: Asami-san belonged to Department 3 while I was in Department 2, and how did you find me interesting among various young people in your Department 3?<br />
A: Because I thought you were unique and I enjoyed making fun of you! After having drunk in Shibuya with you and Toru Ishizuka from my department, we said "good-bye!" and at the door of my home you guys popped up saying "welcome home!" You were extremely talkative all the way until morning in those days, and once you've done with what you wanted to say, you went to sleep immediately! I was just being told... But you were not like others.<br />
S: You had an apartment house. A hideout in Shibuya.<br />
A: We often drank and stayed there. I remember that I made apology calls to your wife politely when you were a newly-wed.<br />
S: Drank a lot and argued a lot.<br />
A: In my age, learning was through drinking. Wasn't it the style everywhere? In those days, when I went to see the work of our seniors, they got furious asking me if I came to steal their skills.<br />
S: There is a cable TV channel running old archives, and I happened to watch "Sound in S" by TBS. It brought me back to the days and was quite interesting.<br />
A: Taku Kato was indeed the guy who succeeded in realizing a sync of VTR with 24ch multi-track recorder in "Sound in S".<br />
S: That was phenomenally a cultural shock for me. In contrast, the equipments of Shibuya village in those days were totally miserable. It was as if bamboo weapons in the war, relying on manpower. Such a situation was sp regretting to me. I heard repeated criticisms by session musicians when they came to the Broadcast Center. "How could this work?" I think it was one of reasons why I always challenged you in hope for an improvement. <br />
In the arguments, it was an established knowledge that when it boiled up Mr. Asami threw the liquor over the partners. In one occasion, I got sake thrown which was when I insisted on audio dramas with surround sound exactly like movies using Dolby matrix because it was good enough. You were from purist music school, and said it degraded the sound quality. No rush and we should wait till a better solution would be available. This was somewhere in Shimokitazawa, and the result was "damn it!" And came the shower of sake. I thought "oh, yes, this is the liquor that everybody talked about." You really dump it on us!<br />
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<br />
<b>Joining Otari/Otaritec after NHK</b><br />
S: It was slightly before your retirement age when you joined Otari, wasn't it? What kind of opportunity was that?<br />
A: I went in Otari on October 2, 1985. On December 17, I would be 55 years old, and they could settle this as a proper retirement. Otari was in the process of deciding DASH or PD, and they chose PD for their digital recorders. And they wanted to make an announcement in about November. I was only focusing on the digital area at that time, right? Therefore it was considered best to be in time for the announcement. Though I decided to move because I thought I would be better being younger and more ambitious in the next company, and I chose Otari as I felt it would be more exciting to be able to actively challenge various things in a relatively small company.<br />
S: Eventually, it was the substantial second life of yours. You really did various things there.<br />
A: Oh, there were so many things. We start working in manufacturers right after the graduation from university in Japan, but there seems to be a difference between Japanese and foreign manufacturers. Because the American society does not follow the lifetime employment, there exist many out-of-the-track examples such as those who want to do the equipment after gaining the experience of mixing engineer. Therefore I saw their quite high recognition of users' needs in talking to them, which was a significant difference. It was same with Otari American staff, too.<br />
S: What do you recall interesting in dealing with foreign manufacturers?<br />
A: If I name the people, Mr. Martikainen of Genelec and Mr. Hoehestrasse of Studer.<br />
S: What kind of opportunity was it with Genelec?<br />
A: We sold some 200 Otari recorders to the Netherlands. And they brought a monitor speaker called S-30 at that time. It was terribly outstanding piece. Most foreign speakers designed for music use fail with voices. We broadcasters have a custom to judge the quality with human voice, you know. And S-30 had an excellent voice reproduction. That was the point I liked most.<br />
S: In your days in Otari, the one of my memories is you introduced me to Mr. Yoshiaki Shimizu.<br />
A: He is truly splendid! BBC was always open for his visits, and his sales of multi-track recorders to BBC exceeded Studer's at that time. He is now in another company selling consoles.<br />
S: He represents Euphonics Japan now.<br />
<br />
<b>Always Create Opportunities for Us</b><br />
S: The overseas deployment system was revised in NHK around that time to find a desired place where you can study at least for three months or possibly as long as a year, and I wanted to apply as one of the first explorers somewhere. When I consulted it with you, you told me to contact Mr. Shimizu of Otari UK with your introduction because he had a close relationship with BBC. Mr. Shimizu introduced me to Mr. Jeff Baker who was Director of Sound Department in BBC at that time. When I met him and talked face to face, as many people around him described, he was so soft and nice; one and only guy opposite to typical BBC character. He also had a sense of humor.<br />
And my point was an exchange project. I made a proposal not just I stay with them and learn but to do an exchange program because there should be a few things that they could learn from NHK. I always go for 50:50 principle. Then Jeff responded to try it as it looked interesting.<br />
I was the first to visit BBC for three months in 91. This opportunity was seeded by Asami-san.<br />
There are two types of seniors when consulted: one to dump it and the other to offer an even slightest trigger, and Mr. Asami was always the latter. The rest is that I dig it further and further to hit something underneath. <br />
Regarding my translation works, you made the opportunity. It was regarding Studio Sound, wasn't it? You told me to translate it for JAS publication. I really worked hard on 7 or 8 serial project of "The Mixing Console Design" regarding which you said that it would be an extensive lesson for me and at the same time readers could learn, too. But you in parallel had a friend of yours check if my translation was appropriate. A well-considered follow-up action! A lot of learning through this because both speaking in English and translating to Japanese have some focal points that require your sensitivity. <br />
A: It is only in Japan now facilities-wise where you can see so much advanced broadcasting stations. If I should add more, Europe is different. In the USA, most of the programs are not produced by themselves. Nobody elsewhere takes the radio programs so seriously. BBC does some and Germans do more or less, too, but TV programs are basically done by outside productions. Japan is now in the same direction, too unfortunately. At any rate, everybody will be amazed to see our studios in NHK.<br />
S: Exactly. But such an advancement started from 1983 or 84. The situation began to allow us to execute untraditional facility updates and we managed to bring in some latest systems.<br />
Before this paradigm was a long effort of fighting in your times, and then we had this revolution. Today foreign country friends joke that NHK is a department store of sound and one should visit there to understand all at once! The density is particularly high there when we take surround productions in account.<br />
A: Europe still holds some status.<br />
S: True. In foreign countries, and Europe in particular, young people can learn things visiting there. I think that there are some in USA, too. They are very quick to make business models.<br />
For example, relations with the Internet and non-conventional broadcast models. We never feel relaxed.<br />
A: That's true. For the next generation<br />
S: Our conversation used to be endless, but before closing, can you please say a few words to the next, young generation people through your experience as professor in Nippon University and chairperson of JAPRS regarding what to challenge?<br />
<br />
A: At first I think, if you are going to be music mixing engineer, you have to master at least one musical instrument at a considerably high level. You will find how to make of the tone for yourself if you learn playing an instrument. In America, 90% of mixing engineers have background of studying music now. Anyway, music and mixing work together so closely to create music. Japan is much behind in this respect. Therefore I want mixing engineers particularly those not in broadcast continue to study music extensively despite the fact that many of them are from the field of music. In Europe, conservatories in Berlin, Detmold or Den Haag offer a course for tonmeister and I feel envious of their educating engineers thoroughly.<br />
<br />
Then of course you need to know computers, and to be really international like Mr. Sawaguchi, the language should be not only by English but also by French or German preferably. It is for a good communication. You seem to be the ideal type in this sense, don't you think? <br />
And the rest, I want people enjoy more "analog" character. I may have taken too much part in the digital, and therefore the young engineers have not listened to acoustic music sufficiently.<br />
They do very little. They may not have many chances to hear. I want them to listen to music more. I think it is time for us to get tired with music through inputs soon, and less people will create music in this sense. After all, music should drift with delicate atmosphere. With a sense of atmosphere. Such waves should be more prominent.<br />
S: I think a good combination is the mind in analog and the tools in digital. People are digital-and-digital today, and I hope they become aware of it soon. Thank you so much today. <br />
<br />
Time flies and this one-year series have now been concluded. In these 12 sections, a few matters may have not been covered, and I appreciate any comments and requests from you to the editor, Mr. Matsui (matsui@kenroku-kan.co.jp).<br />
<br />
<br />
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<b>Keimei Asami</b><br />
1930: born in Kugenuma, Kanagawa<br />
Took piano lessons from childhood, and in the college student days, addicted to the cello in stead of studying, and became active as a semi-professional musician in the drama broadcasts of NHK and other commercial stations, music accompaniment in the ballet, and local music classrooms.<br />
Having realized the own ability, decided to go back to school giving up the ambition to be a cello player.<br />
1955: graduated from Gakushuin University, department of science physics subject (acoustics specialty) <br />
Entered NHK as a mixing engineer.<br />
In charge for the promotion of "Three-dimensional Music Hall" (NHK had the world's first regular stereophonic program by using two AM waves since 1953), electronic music, FM stereo, TV stereo, HDTV, and PCM recording.<br />
1960: Italia Award by "Ondine" (Akira Miyoshi's composition) in charge of audio mixing. This work is a music poetic drama performed by orchestra, chorus, nodes martenot (French electrophone) and electronic music.<br />
1961: 4 day performance of the above title in ballet in Ueno Cultural Center<br />
In the orchestra pit, a 3ch tape player, a 2ch tape player, 5 monaural players, various mixers and effectors were brought in, and 7 staff manipulated them following the conductor, Mr. Miyoshi.<br />
Everything was all manual work with no multi-track recorders nor synchronization system in those days. It was the first multi-channel surround performance of tape media in Japan using 3 speakers for music, 3 speakers for dialog, 3 large speakers on ceiling and 3 speakers on walls.<br />
1962: Salzburg Opera Award by "Aya-no-tsuzumi" (Yoshiro Irino's composition)<br />
1968: Salzburg Opera Award by "Orpheus of Hiroshima" (Yasushi Akutagawa's composition) <br />
In the mean time, in charge of such performances as Italian opera, Karajan/Berlin Philharmonic Orchestra, Boehm/Vienna Philharmonic Orchestra, Celibidache/London Philharmonic Orchestra ...<br />
Associate Editor of Broadcast Technology and Japan Audio Society<br />
<br />
1985: Retired NHK<br />
Chief Engineer of Otari and Executive Director, Marketing of Otaritec<br />
1993: Retired Otari/Otaritec<br />
1994: Lecturer, Nippon University, Art Department Broadcast Section<br />
2000: Resigned Nippon University<br />
2002-2005: Chairperson of Japan Music Studio Association chairperson.<br />
<br />
2006.12 Broadcast Technology<br />
<br />
<a href="http://51terakoya.blogspot.com/2010/01/road-to-surround-35-years-mick.html">Part 1: To acquire the skill for writing, listening, and talking >>></a><br />
<br />
[ <a href="http://51terakoya.blogspot.com/2011/01/index.html">Back to Index</a> ]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-62019303317184162962011-04-11T05:01:00.045-04:002011-04-20T00:11:00.446-04:00The Road to Surround – Part 11: Special Interview with Mr. Kazutsugu UchimuraBy. Mick Sawaguchi<br />
<br />
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<b>Sawaguchi:</b> This series started with the January issue to put variety of topics in the past in writing, and here we are so quickly to leave only two more sections! In the remaining sections, I myself would like to discuss how we should tackle the issues of surround once with a seniority who has acquired a lot through variety of studies, and the other with a younger generation. The very first comments I received directly from readers were when "why the stake that sticks out in the workplace is hammered" was released in the third or fourth section. Utchan (nickname for Mr. Uchimura), did you read it? <br />
<b>Uchimura:</b> I definitely did. As I faced with this article, I could feel something like the history of Mr. Sawaguchi himself along with the history of surround, and I thought it represented what Mick thought or felt at that time in a straightforward way. Reading each section of this series for me was like having a microscopic vision of what I did or how it turned out and even reviewing the approach I should make from here in my brain. I had a feeling of nostalgia in a way and at the same time thought that I had to whip myself further to move on as I read it.<br />
S: The reason why I thought that I wanted to talk with Utchan among my successors this time is because I expected that it might be useful for the other people who read this if I discuss with someone who understands that it is important to create things and to express oneself. Why don't you introduce your career to the readers from the days in Sapporo until today? <br />
U: Thank you. I was born in Hakodate in 1961. I first entered the company called Sapporo Video Production. I think in those days among most local commercial broadcasting stations, audio by itself or the sound engineer position was not quite established yet. They were simply bundled as "the engineer". While I began as VE first, I always felt the need to establish the function of audio. Above all, I regarded MA (multitrack audio) as extremely important, and therefore I set up an MA studio under the concept only with a pen and a monitor first. Many said "such a thing cannot succeed" in the beginning, but when I watched your efforts keeping up with high-level challenges, I really wanted to be a part of the same effort because I was born in the same century. I moved to a studio in Tokyo, company called Digital Egg, and was lucky to be able to make a 5.1ch facility to cope with surround. I learned that NHK provided a "career employment examination" while I was in Digital Egg, and I applied to enter NHK. That's where I work now. <br />
S: Can you tell us about some memorable productions of yours? <br />
U: Programs that I worked to remember? Because Digital Egg was a high-profile post production, when I did surround first, I had in my mind from the very beginning that I would do commercials in 5.1ch among others, and it was one of my big steps that I was actually the first to be able to complete a commercial for cinema in 5.1ch. Then "the Stairs to Heaven" that I was in charge right after I joined NHK is also memorable. It was when NHK did not have any 5.1ch facilities yet. You wrote about it a couple of sections before in "Road to Surround", and it was an epoch for me. Another one is again in my Digital Egg time, "the Jump of a Whale" is a cartoon title of Shigeru Tamura and it was 5.1ch, too, and it was a collaborative work with my close friend Mr. Someya. Digital Egg and Sony PCL independently started the sound design, and then networked the material elements each other in production. We took the process in American style, or movie-production style. <br />
S: Well, now the readers have understood what type of person Mr. Uchimura is. <br />
U: I have been a long-time fan of Mr. Sawaguchi being a reader of your early days' articles! :-) <br />
I thought "this man is terrific!" and "amazing point he sees!" I was reading "Broadcast Technology" since I joined this industry. Some senior engineers had "the Institute of Television Engineers of Japan magazine" which was too difficult for me to understand. On the other hand, "Broadcast Technology" was digestible, and I was really digesting it, and then often came out the name of Sawaguchi in the magazine. Additionally, the story of TBS to build an MA system that synchronized with time-code to multitrack was totally stimulating for me. Then later came "Pro Sound" magazine, which was when I was still in Sapporo enjoying little information there. In old days, seniors won't tell you the exact details to teach you even asked. Stealing the skills by watching while at work was all you could make, and it was so important at that time. What I had been thinking at that time was because the broadcast was a "broad delivery", it wasn't easy to understand where it reached with what kind of reactions, and I really felt that I should check and confirm what I was exactly doing as I worked if I wanted to be regarded as a world-class engineer, even if this may sound impertinent. These professional magazines taught me about it. There was various information in them, and I told to myself “am I still in such a level?” Moreover, I felt uneasy about the possibility to result in a mere, superficial paper-mixer just like a useless paper-driver. The only solution was obviously to study and study... And you became in charge of symposium in InterBEE from 89 and, it was fantastic! I could watch and listen to such extracts gathered from the world once every year. <br />
It was my spirit even to lie anything to go through the company authorization for visiting these symposia. :-)<br />
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<br />
<b>"Our Idiots ..."</b> <br />
U: Before that, when Mr. Roger Lagadec came to "Digital Seminars" that Sony ran at their Shinagawa facility, I participated in it from Sapporo and saw you for the first time. In something like a training outfit and kung fu shoes, you kept beating your thigh all the time... <br />
I imagined that you had a muscular pain playing tennis or something the day before. The aura around you prevented me from speaking to you. <br />
I think it was when I was 29 or 30 years old, but I visited the AES Conference in New York. I had so much of worries at that time. I kept thinking about how I could build an MA studio in totally new style, and as I was staying at Hilton Hotel where the convention took place, I determined that it was the time and dashed to your room with a magnum bottle of sake. Introducing myself, "Sawaguchi-san, please drink with me. I am Uchimura of Sapporo Video Production. I challenge various things and I hear a lot about you." And came a proverb back from you. You started with an apology. It was to the industry rather than to me, I guessed. "Um, do any of our idiots cause any trouble to you?" <br />
"What does it mean?" I thought for an instant. After I entered NHK later, I often heard you used the terminology of "Shibuya Village", and it appeared that you used it as the same sense like "don't be buried deep under Shibuya Village". You spoke out the same to the people inside NHK, too, and you meant that your life in this industry should not self-conclude merely within the working organization. We can see the words "Shibuya Village" and "nuisance caused by our idiots" are close each other. Without understanding it on the spot, it became my first "Sawaguchi collection of proverbs". <br />
<br />
<b>“You should do an original thing than you imitate something that others did”</b> <br />
U: Your word that changed my life and that drove me to determine my thoughts was "you should build an original thing than you imitate something that others already did". It was when I was working on the design of new MA studio, and you clearly said so. I really felt at that time the focus then blurry in myself suddenly fixed. Then everything was visible, DAW (digital audio workstation) and networking that became common today. I could clearly hear the voice in me, "the days of running multitrack recorders are over, and here comes the change!" <br />
I made the drawing in my return flight and I could build the studio. It was entirely because of these words. <br />
S: Because I hear that you write down my words as "collection of proverbs", can you please introduce one that you think best? Putting it on the plate, we can discuss how it came out. <br />
We can also review in what kind of context I said so and why Utchan liked it ... <br />
<br />
<b>"A tie and the true ability are inversely proportional"</b><br />
U: Alright then, I would start with my favorite: When one steps up towards management from mixing engineer or sound designer in the field, most directors in this situation start wearing a tie, and I was curiously watching if you would come to the office wearing a tie or not, and after all you did not. I felt like tackling this issue a little further, and asked if you did not have to wear a tie. Then you uttered "what?", and said something like "a tie and the true ability are inversely proportional". I was knocked completely socks off! I felt it sounded exactly like Mick in a way, and you seemed to be expressing that you were not different even in the management. Realistically, how was it? <br />
S: I do care about the appearance, but I hate the stereo-type idea of determining someone's superiority entirely by his appearance, or judging reliability by whether one is wearing a tie. Therefore I of course wear a suit, or I wear the proper clothes daily that do not look rude. In a nutshell, I wanted to indicate in a concrete style that there existed different views than a pre-determination like without a tie is unsophisticated or lacking politeness. But I need to be prepared with confidence because there would be a lot of external pressures to face. I guess that my direct director or others in the middle in those days probably had a hard time because of this. I tend to hate traditional concepts: Such as when it comes to this, it has to be in this way. When we face with a situation, showing "this would be a counteraction" or "this is also possible" is important, particularly so for those who produce contents. Rarely is there only one, this answer for it, as there are various ways in the expression. But using only words in this situation is not enough because nobody would understands only by words. If you show saying "see how it turns out" in a concrete manner, people would realize that some different approaches could be safe to take. Consider if no-tie is automatically interpreted as rudeness. <br />
The essence is I do not behave rudely and am dressed appropriately with certain quality well suited as the management of the workplace, and then a tie in particular may not be a critical element. That was how I considered.<br />
U: Mick's style is characteristic and unique, with kung fu shoes that nobody wears, illustrating Mr. Sawaguchi himself in a way, and impressive and above all it's not rude. It is not dirty, it is even classy, and we can feel your self-consciousness in coordinating clothes and others to a great extent. You react upset when I say "how do you decide your clothes?" You go "it is absolutely my decision!" Strongly. Therefore I interpret it that you have a certain appeal in it. <br />
S: It is the same thing as mixing balance. <br />
U: It is a balance, indeed. Something common between the two. <br />
S: In achieving a skillfully delicate balance... <br />
U: And that's why we got interested in. But on the other hand, in the absolute occasion, you wore a tie properly. <br />
S: Well yes, two or three times a year, I did. <br />
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<small>Masaki Sawaguchi, the author</small><br />
<br />
<b>"Assign-chart does not decide your life"</b> <br />
U: I introduce next from the collection which appeared to me you wanted to speak to junior colleagues. It is called "the chart" in NHK, and it is a table which dictates production assignments for you to confirm from what time to what time in where your work has been allocated, and a young staff was watching it to see what his work was for tomorrow. Then you quietly approached him from the side, and said "the chart won't decide your life". It must have startled him, or hopefully so, and I believe it exactly did. You must not be satisfied only with what the chart dictates you. I heard you meant the time should be spared more consciously and effectively for educating oneself. Was it what you meant? <br />
S: That's correct. People are apt to be happy focusing only on specified jobs if they are given to do on the day, and in the end of the day they tend to think "Well done! Today is over!" <br />
It is not so, and you should interpret it as the minimum work for your salary but not the greatest. What I wanted to stress was that it should be the way for you to find a lot more to do for yourself and challenge them hard to raise yourself to 2 or 3 times higher level rather than simply remaining as one of workers in the office. Of course the young people today are brought up in a peaceful environment and they may not be quite ready to absorb tough experience even if I say to them abruptly to be hungry. Therefore if I give them the jobs for the day specifying this and that, they tend to be satisfied with them. Where the growth is was my concern. It may not be easy to understand just being told so, but they could see exactly what we imply if we demonstrate how we do it to them. <br />
U: Indeed. Therefore, as for the incident, I wonder if they find exciting when something different from normal comes in front of them while unexpected thing may be unpleasant. I am terribly excited with it myself, even if I hate troubles. In a trouble in fact, I find myself heated somewhere in me. I meet someone whom I can see only at that time, or I manage to absorb something new... <br />
There is another wise remark of yours among the collection: It is when one has a problem with the stomach, or maybe a headache and he will be asked "you don't look feeling well today?" and will reply "I've got a headache slightly" for example." In this context, Mick, you said "well, that's great as you can sense you are living!" While I thought something like "sonovabitch!”, I was totally fascinated at the same time. That's right, that's right ... I thought. We don't usually think "oh, I feel good because nothing goes wrong so far", but this remark looked hitting the point. This can be said to various things. Not even with a stomach ache, but when you encounter with a trouble, or your mixing does not proceed as you hope, or something unexpected happens as an example. And it causes you to realize that you are alive. <br />
S: Things like an unexpected encounter are common to everybody. Being common but how you perceive it. You might think that we can meet him sometime again, and thus good-bye, you would react, or "there may be no chance to see him next. I should hang onto the man to exchange information"; this split of considerations will be a significant turning point. I, for myself, regard the encounter as important very much. In spite of the first acquaintance, if we look for things we do not carry each other looking for things you carry to share, we can improve ourselves than minutes ago. Such a power in thinking, or in the other word, you find it fun to think that way would matter. I think I learned this since I started dealing with people from foreign countries. Between Japanese people, the acquaintance tends to have a long introduction with small jabs through socially meeting for five or six times, and if they find "this guy seems to be able to make good friends with me", then their relation gets very tight from there. Foreign people always contact us with a feeling of once for all, and even when you meet for the first time, they bring up in the conversation a sudden but essential topic like "what is your job?" Or like "what is your original that others do not have?" Japanese would think "you may ask it a little later", but they don't care. When the mutual wavelength matches or each finds the other interesting, the tone and the level of conversation boils up thereafter. It's so fast, and we had better gain the attitude in the encounter with other people. <br />
Among the same Asians, although I do not know well, the Chinese seems to be well ahead of us. Bumping into someone gets into essential discussion immediately, and if the air fits in, everybody goes excited. Just like sumo wrestling, Japanese takes very long time facing each other before standing up. <br />
U: Well, Chinese people are literally self-centric considerably! :-). <br />
S: It is because if you grow in a uniform environment of single type of people to work with, you tend to regard how you build the human relations after the acquaintance is pre-fixed. If you visit various places though, you will encounter with the people with different way of thinking. You then begin to recognize variations, and I tend to love it. <br />
<br />
<b>"You lose the way of the corner-cutting if you forget the genuineness."</b><br />
U: As the times get more and more efficiency-oriented, I once uttered complainingly "do they mean that we should perform on groundless basis? It can not be that they say everything needed for a proper production effort to be avoided", and you commented "you lose the way of the corner-cutting if you forget the genuineness." What could I say with this? But it won’t be possible to be really not to do a slipshod job in such a thing whether you say that you change a viewpoint. While joking slightly... You might end up being the type of person who does not understand how to cut the corners. Someone who can only follow what is dictated. <br />
S: In this series of articles, I wrote that it was important to recognize genuine things. Knowing genuine things, as you have just described, means that you always understand how high in the range of levels you stand now, and also recognize how it deviates from the top class in the world. If you experience a genuine production flow properly though there may be limited number of occasions, you get to know the proper procedures through picking up the essence in the given budget, schedule and resources tightly while trimming minor parts, and on the other hand, to work compactly on efficiency with first priority without understanding all these things will made a large difference in the end. Technologies develop constantly and a better efficiency is a logical topic. For example, in 1970's when I came to Tokyo, only around 1 audio drama could be produced in stereo in an entire year. Why? Because it took 3 to 4 months to complete a 1-hour drama in stereo. Because the studios were not equipped with such functions, and facilities and procedures were not just ready in those days, everything was purely handmade entirely. Therefore only one production was possible in a year, and then in 1979, a very efficient studio with 8 bits CPU was built in the process of facility update, and it became possible to complete the same program in one week. Then it becomes possible to challenge for more dramas in stereo, doesn't it? And I think this exactly applies to surround in its infancy, I believe it still is in an infancy, and it needs more time for a little more while. If those who have made various attempts and detours then consider how their tools should be in order to achieve excellent productions efficiently and how the work flow should look like in parallel to drive changes, I would think that it becomes possible to realize quality productions in a certain budget and schedule constraint. By the way, Utchan, when did you join NHK? <br />
U: It was March, ’98 and thus I did "The stairs of Heaven" in ’99 first. <br />
S: That means you were in Digital Egg when I was occupied with "the Last Bullet"? <br />
U: Excactly. And so when the "Bullet" was done, I could participate in the preview and was utterly horrified. If my memory is correct, it was a preview for Imaging Media Workshop. I chose the seat for myself approximately where you had done the mix. At that time, I had two feelings; being touched by surround sound for one and envious about being able to do such a job for the other. It was a definite surge to me, and I committed absolutely to do this myself, too. "The Last Bullet" was so phenomenal. I felt I must make a 5.1 ch studio. <br />
<br />
<b>"A chance has its hair on the chest" and "there is no future in hesitation" </b><br />
U: Let me introduce some other phrases in the collection that I heard from my seniors and colleagues. One is "a chance has its hair on the chest". This is splendid. This is exactly how Mick would say. When you are facing to the direction where a chance approaches, it is easy to catch the hair on the chest, but it will be harder to do so if it is leaving you seeing its slippery back. It is really well-said. When a chance comes to you fortunately, if you reject it or hesitate at that time, you would not make it. <br />
S: If your life entirely soaks in the safe and mediocre employment environment, you would expect that chances would always come to everybody equally, and eventually become inert to such a sense as "now is the chance!" They tend to think it will come again to them later. When I started working with various people widely in the world, I strongly felt that it was essentially important to recognize when the chance is in front of me, is it now or is it the one coming next, by sharpening the sensitivity and ability to judge. When a chance comes to me, I absolutely have to catch it without breezing because it will be gone while I hesitate for an instant. When it turns over, it is already the end. <br />
U: And you phrased it into these words "to have hair on the chest". However, in reality it is not so easy to act. <br />
Another saying of yours is "there is no future in hesitation, no carrier to be developed". This is literally what it means. It says that there is no hope without aggressiveness. <br />
By the way, Mr. Nishida who picked this phrase said that a typical expression when Mick scolded him was "you are rather daring". One of my colleagues, Mr. Otsuka told me Mick questioned saying "are you trying me?" when he forgot to cut a noise or failed something. It sounds very skillful. Instead of shouting "what are you doing? Don’t!” a witty question like "are you trying me?" will surely startle us. So this should be one of selections. <br />
<br />
<b>"Do you work worthy of your salary?"</b><br />
U: I introduce one from Mr. Kamekawa's collection. When he was working with us, Mick often said to him "are you working worthy of your salary?" according to him. I hear the same quote from others, too. <br />
S: The lineup of the organization has considerably changed now from where we were because we now have some master-degree staff. But, in 70's and 80's, 80 to 90% of the people in the field were high-school graduates. Such climate was intense that the front line does not need high-salary guys at that time as the university graduates were perceived only to repeat reasoning and perform merely a half man-power. It was least enjoyable for us, wasn't it? We were the minority as clean as a whistle. I had a serious sense of risk in being recognized, and we had to achieve results with whatever painful efforts rather than hiding ourselves from this reality in order for them to say that we deserve the salary. I heard similar stories from our seniors because only a limited number of people entered as university-graduates. In the end, most of them were swallowed by the atmosphere of the workplace and move to somewhere else without sprouting a bud. I considered in those days that I would stick to this situation without going anywhere else, and I being an anchor hit some kind of wedges to it in hope of building an atmosphere where they would feel some usefulness in our presence in the party. As one or two university graduates entered every year, I used to say this to them. The significance of being disappears completely here if people consider "that boy has no skills and slow to move and still makes more". I said to myself not ending up so. The atmosphere has changed very much now. <br />
U: You, Mick always minded how the seniors should reach their hands to the new recruits when they do not understand where to start after joining the team. Probably your long experience will suggest when is right to comment just by observing. This may be a rather old topic but something that amazed me was when you said to me "watch her properly", and I asked why. You then added "she is the type of person who tends to worry things". Quite surprisingly careful eye on subordinates, I thought. <br />
S: One of benefits I enjoyed by pursuing audio drama in my career was I experienced numbers of stories with variety of lives condensed in them. Therefore I was able to master how people would view things, or how much they would perceive by the first glance. And I came to notice such things quickly as good characterization of a role or the need to boost a little more of specifics for the other.<br />
<br />
<b>Give-and-take </b><br />
U: Mick, you often use the phrase "give-and-take" in this series, and I think you are always keen to comply with this thought. Though it is not so simple to express in front, but your personality is very serene. Generally as people accumulate ages, they inevitably collect dusts and tend to be too definitive in saying, while you remain mysteriously serene. And I think that is why you are good at capturing opportunities. Though you choose the words through considering so many things from different angles, your reaction appears to be really serene. This relates with the give-and-take we just discussed, and you give a chance to anyone. You extend it not only within your broadcasting stations but also to me when I was an outsider, and to the people of the whole world. Many panelists at InterBEE were given the opportunity triggered by Mick Sawaguchi. Like Jedi Master for sound engineers and sound designers. Someone like Yoda. <br />
One more popular phrase of yours would be: "invest in yourself". I really think so. I had been participating in AES conventions all the way, and when I heard these words, I felt it was a supporting comment of what I was doing. AES is truly an irreplaceable thing, and is a pure gathering which is extremely good. People gather from all over the world for a short period of time intensively, and act together in there for a few days. We can meet with various people, hear various opinions, and exchange them, for free of charge, a real give and a take! <br />
S: When Wieslaw came to Japan for around 3 months after having been appointed as the chairperson of AES, he said in his interview with me that one of reasons why he contributed to AES and kept making efforts was because of a strong memory in student days of his own. According to him, he found a book about AES in his school library in Poland, and it was so instructive that he wanted to be a student member. I think it was a story of 30 or 40 years ago, and the membership fee for students at that time was 6 dollars a year. But people in Poland were poor and could not afford paying such money. He had an uncle in U.S.A. who paid the fee for him, and thus he could read and study AES journals in Poland. In addition, when he consulted the branch manager of AES Europe about his wish to go to New York from Poland to study, he introduced him to the manager of AES New York office who received Wieslaw in New York to properly guide him to various studios of entire New York and immensely supported him in the rental equipment arrangements. It was a fascinating care for a student from a poor eastern European country at that time. Coincidentally, an AES convention took place in New York during his visit, and he participated to find the latest stories discussed by the renowned top people in the industry of those days, which was a phenomenal stimulation to him. With this prototypical experience, he passionately explained his challenge to facilitate AES as a spot where everything can be shared. If people with such an experience gather whether it is larger or smaller, it appears to me a good relationship will develop around them. How many times have you been to AES at you own expense already, Utchan? <br />
U: It is uncountable for now. My very first attempt was to Paris about 18 years ago when I was 27 years old. I visited Copenhagen for 100th AES Convention, too. I keep participating since I joined NHK; therefore I have already traveled almost 15 times by now. <br />
S: It is one of proofs of your investing in yourself. <br />
U: I did it saving money as "AES deposit" personally in my early days. Listening to the lectures in the 100th AES, the idea of doing surround became very solid in my mind. Also, I visited SSL main office in Oxford immediately after AES because I was communicating with Mark Yonge of SSL who now chairs the standard committee in AES, and there was a darker version of Axiom prototype to play with in front of me that gave me the full confidence saying to myself "this is it". In my return flight, I was drawing the diagram all the way, and it came true as the surround studio of Digital Egg. <br />
S: "Post magazine" visited the studio for coverage at that time. <br />
U: I was really excited. There were no notable reactions in Japan, and the "Post magazine" for postproduction professionals from the US came to see us. Ken McGorry, the chief editor came expressly for himself for this coverage as a special feature. It was titled something like "Tokyo Digital Culture Clash". <br />
<br />
<img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxBGIiSt4RfxEQ-9m7EmL1aqRxQq7SRs5fgR1-zOFLPjTFYVDLdkLtKPxeIYz9RESCr1FgbkwXd7FG3jAOsbfkk6nVyDZQU_T0HSRxzXNvJerxEiQ6OJVXdEmt7vzaGPRvNJ6tc3U3UQ/s400/Post%25E8%25A1%25A8%25E7%25B4%2599.jpg" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPkY2RVXGaSkmvD3sJw5F7X0Pt6-XSMd4LtRotT1NdSS8vdSlZufqSAAzS_HvbDtjtIxsIl51NBLgJxvbeChiL268ZFyDcpCHOtXM48QwEutLnQ-x3rpb6yAyMQ0ltYjtoSgdaVpTmg/s1600/Post%25E8%25A8%2598%25E4%25BA%258B.jpg" imageanchor="1" style=""><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPkY2RVXGaSkmvD3sJw5F7X0Pt6-XSMd4LtRotT1NdSS8vdSlZufqSAAzS_HvbDtjtIxsIl51NBLgJxvbeChiL268ZFyDcpCHOtXM48QwEutLnQ-x3rpb6yAyMQ0ltYjtoSgdaVpTmg/s400/Post%25E8%25A8%2598%25E4%25BA%258B.jpg" /></a><br />
<small>"Post magazine" cover and its article</small><br />
<br />
S: The people with a proper sensitivity highly valued it because the concept was essentially new. <br />
U: And this magazine had an outstanding influential power. When a then-director came back after his visit to NAB, he told me "Uchimura, the reactions were terrific and the comments were with amazement that such advancement is already in practice in Tokyo!" He rephrased the comment proudly, "All digital, non-linear, with 5.1ch, and supports stereo mix in addition, a terrific example of studio network!"<br />
S: When one does an original thing, not found elsewhere and innovative, people in the world will respect it properly. I think that we Japanese should have a mind to accept such thoughts openly. On the contrary, they may say "I had him do that" or "I did this way at that time". The right steps are to give a proper recognition no matter how small the issue is if one has achieved something better than others, which will raise the motivation of those recognized, and eventually the motivation of the workplace and that of the entire company to result in a better harvest in the end. <br />
U: When I built a fully-digital studio in Sapporo in the first place, I received a letter from you inviting me for a talk about it in AES Tokyo convention. I was very happy. When the SSL 8000 console was released and Shibuya station organized a surround seminar with their first, serious console targeting surround professionally in analog, you sent me a fax and later came a letter from Ms. Nakayama then in SSL. Those were nice things and I still keep the pictures at that time. It was as if a light guiding me to the place with lights. I could see it only as a tiny light-ball, but it was to me a sign of the direction and it made me more confident to challenge; if I pick up something interesting in it, more excitement may develop from there; that was what I had in my mind and really enjoyed the participation. <br />
S: You showed up in the morning of our symposium at InterBEE saying "I have just arrived!” I asked "how could you be so early?" and you replied "worked all night and then took the first morning flight." It was enchanting, wasn't it? <br />
U: I could not show up otherwise. I could get a break next day because I worked all night. Other excuses I also took advantage of were Buddhist memorial services, wedding ceremonies and critical conditions of my relatives. <br />
S: I think it was the result of cumulative acts you continued. Something that made me happy personally with your action was that you successfully made a technical presentation at AES. <br />
U: That was 2004. <br />
S: Your viewpoint must have sky-rocketed up to another level when you watch the world. From the situation just sitting to watch the stage before this, now you are in the position to make a presentation yourself, your channel will automatically grow as you create more opportunities to do the presentations for yourself. One drop of water will turn into a big river in the end. I think that Mr. Fukada was exactly in the same situation. It was 100th AES Convention in Copenhagen where we visited together. Because his presentation at that time was excellent, various people gradually tried to get in touch with him, and it is reasonable to say that most members of AES know him now. <br />
<br />
<b>In Closing</b><br />
S: Could you give us a word in closing as a leader of the next generation? <br />
U: I came to realize that it dealt only with a part of the sound expression to do the mere mixing. Ben Burtt of Skywalker Sound says; "Each of us has a dictionary of feelings that can bind a specific sound to a specific feeling in one's brain." In order to have the "dictionary of feelings" function, it becomes important to deepen the psychological consideration and to correctly handle the power of expression by the sound. In addition, such programs inevitably rely on the mutual influence between the image and the sound. <br />
In order to produce a program in this way, such abilities are required as the sound design to offer scene development of necessary images when telling the story from the viewpoint of sound expression while being deeply engaged in the program from its scripting stage, the supervision to be able to be persuasive, and the producer-ability of management. I would like to challenge in this area and want to bring up the next generation based on my past experience. <br />
<br />
For the twelfth (final) section, to conclude this series, I will talk with Mr. Keimei Asami who has been the teacher in my life who triggered me to shift my views from NHK to the inside and outside of the country. <br />
<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrdbbdsoU_w0AQHVwsfEOLY3_7dRPT-HcbhiP6HUecT2-iQzyVLZKcdiAdcFO-MiPL73N01DM7GebPvPRuzhBwhk7qhwCXQZvRrS2Zd4u20Fwi1h8F83fd8epDzDXblreKcUIBRyem1g/s400/11-5.jpg" /><br />
<b>Uchimura, Kazutsugu </b><br />
1982: Joined Sapporo Video Production. Worked on mixing, sound design, enitre production technologies, including those facility and design for programs' location prodcutions, relay broadcasts, and postproductions.<br />
1995: Joined Digital Egg as Chief Mixing Engineer and engaged in the sound design and mixing of commercials, documentary and drama programs, music, VP and others. <br />
1997: Completed a 5.1 surround MA room specialized for the DVD production first in the nation for domestic video productions, and was involved in variety of surround productions.<br />
1998: Joined NHK, now belong to program technology development in Contents Technology Center, Broadcast Technology Station. Mainly in charge of sound design and mixing of documentary programs such as "NHK Special".<br />
For these past several years, engaged in a lot in international co-production and worked on program production and international collaboration corresponding to various formats.<br />
2004: A paper "5.1 Surround Sound Productions with Multi-format HDTV Programs" presented in 117th AES Convention in San Francisco.<br />
In addition, produced a 22.2ch surround program "Planet Earth with Full of Lights" for World Exposition Aichi.<br />
2006: Won IBC Award with Super High Vision software shown in IBC Amsterdam, Netherlands.<br />
<br />
<b>Major works</b><br />
"HeatBeat", SlGGRAPH93 Electronic Theater exhibition<br />
"People Handing Down Ainu Culture" (1993), Mainichi Movie Contest Minister of Education Prize in the documentary film section <br />
"Revived Bird of God" (1994), Grand Prix of TV section in Love Earth Campaign by Japan Commercial Broadcast Federation<br />
A commercial sound design for "Another Movie Theater" (Sony, 1997), the first 5.1 surround theatrical commercial in Japan.<br />
"Grandpa's Ladder" the first prize in Entertainment Section (Astrolabium Award) in 12th International High Vision Imaging Festival<br />
"The Life Story of Rice", Basel City Prize Grand Prix 2000 in EBU/SSR International Educational Program Contest<br />
"NHK Special: Space - A Grand Journey to the Unknown", Minister of Education Prize in 12th Science Technology Imaging Festival, and Science Broadcast Takayanagi Memorial 2001 Award <br />
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<b>Recent works</b><br />
China-Japan international co-production, "Chamagudao - A Way to the Sky"<br />
UK-Japan international co-production, "Super Volcano" (BBC)<br />
US-Japan international co-production, "People Who Were Robbed of the Mother Country: <br />
A Record of Forcible Escort of Japanese in Central and South America"<br />
US-Japan international co-production, "Bob Dylan: No Direction Home"<br />
<br />
2006.11 Broadcast Technology<br />
<br />
<a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-12-special.html">Part 12: Special Interview with Mr. Keimei Asami >>></a><br />
<br />
[ <a href="http://51terakoya.blogspot.com/2011/01/index.html">Back to Index</a> ]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7506828774858462181.post-76286076295647647712011-04-10T05:01:00.055-04:002011-04-20T01:16:14.514-04:00The Road to Surround – Part 10: Steps To Surround School-shed and the Next GenerationBy. Mick Sawaguchi<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSuZoOrbgYyIcawhpnYGqB2ywS_CkoCWGzeLp9R0Qc9VqsHovrX8QKm3AZVX-Lg1BNQnFaI7DhDFr3LbLNGn1HnyccKxieBiYq37rqcuKTSY0Wan91aYObKc94WTwipWxU7_h0seVye_Q/s500/2.jpg" /><br />
<small>George Massenburg V.S. Surround-shogun(?) <a href="http://surroundterakoya.blogspot.com/2007/02/40-george-massenburg.html">2007-2-27</a></small><br />
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Up to the last section, I talked about our activity for expansion and enlightenment of the surround sound world as "Surround Crusaders". I will describe this time mainly on the thought of people gathering in my "Surround School-shed" regarding how to convey the above issue to younger creators as a concrete example. <br />
The Surround School-shed started in September, 2003, and takes place once a month in my home-studio in Mitaka aiming to form a workshop of three hours by surround producers then hot and in frontline carrying out a lecture and a production demonstration about the way of thinking, concrete examples, themes, and challenges. In case the participants exceed the capacity depending on the subject, I have someone offer a studio or a showroom in Tokyo and cater a "Surround School-shed" there. <br />
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<b>The Start of Surround School-shed Emitted from My Home Studio</b><br />
When I was in charge of surround seminars and workshops, I often heard voices from participants about the opportunities or physical places where they could learn surround production regularly. This may be an outcome of the desire to experience and gain the real world of practical production in parallel with their scientific study, and also the thought to distinguish themselves with a different skill set from others in the earlier stage to appeal their superiority in the business aspect. <br />
I strongly felt this type of tendency in foreign countries in particular. In the surround workshop that I made in the AES Convention of 1996, a large number of participants lined up in front of the platform after the session to get a copy of my various surround miking information I showed. As I could hardly cope with them on the spot, they filled me with their address and I air-mailed to each of them a copy later, but it was only one person who wrote me back a thank-you letter! With regard to this type of things, there exists a considerable gap in their behavior and the way we Oriental people would express their appreciation. I wonder if they consider it unnecessary to express another appreciation by return once they thanked me on the spot. <br />
With above all these things, I wanted to establish an environment that enabled me to organize private workshops regularly someday in my home. In spring, 2000, we decided to move to Mitaka city, and incidentally planned to build a long-cherished home-studio. Equipment were gathered for surround production environment little by little shifting from a temporary stereo setting, and finally completed in 2003 through 3 years of effort. The studio concept was "how far I could express my feeling only with a DAW and a keyboard without a mixing console". (It was a great challenge judging from my sincere respect for the sense of faders and knobs.) It very much arose for the room size consideration, but the essential reason was because I wanted to have the middle age generation including myself experience and understand the level of future computer environment as a tool to use. I chose for DAW a product of Swiss Margin Technology called Pyramix. It began to be used in foreign countries at the time particularly in European classical music productions, and I found its sound quality was quite straightforward. Its expansibility managed to cover the latest needs as a system such as from SD to HD imaging, mixing of DSD recordings, and the high bit sampling. <br />
(Despite the fact that there was another DAW that already was gaining the position of industry-wide standard in the market ...) <br />
<br />
<img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPi4JMCgYTIp9_HwdqhNvQ7NSMKKLmwuTeKXqSSEy2c5F22lEo5naF_vLcvd1M0MjRrA9jSWb1Z94gmhXPUls-JuvOMGdryqvWAxt40a5-jboH5WlYomODLKTC65FkfCdhytLGKeXjA/s400/MICK+TUDIO5.JPG" /><br />
<small>Picture 1: My home studio in 2000 to support stereo only</small><br />
<br />
<img border="0" height="272" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaCuPM_JYXn70KeoD1PlNeQInSIfAnpngpnT1WdbEtPVVmH_4_XheHP_MmLCdq64S5PWFRBAdjjex17tRjB_x_L9DQOf2jmKdAGxmlTtxvT5mFgO4lj-CRG4LnGt1vaWvmzlnsJWpSww/s400/mick+studio+Set-Up._1.jfif" /><br />
<small>Picture 2: Completion of long-waited construction of surround facility</small><br />
<br />
Collecting equipments was pretty much done in 2003 for sufficient environment, and I decided to finally start “the surround School-shed”. However, there was nothing but practice without knowing the mechanism of publicity or the PR activity. I only considered the followings at the start:<br />
<br />
• Words of mouth would spread to some people as this effort continues. <br />
• Ask some surround friends I know for a lecture. <br />
• Accumulate valuable contents steadily and faithfully that participants find truly instructive. <br />
• Avoid the system for exaggerated organization or authoritative meeting, but to form a free structure where the people who want to study can participate with their own intention and also can leave anytime when they lost the interest or consider they have learned sufficiently. <br />
<br />
As the seminars tended to be indigestive under the conventional format because of limited time, I allocated 3 hours for the lecture and the demo, and taking this opportunity, I arranged an "after hours" cross-industrial social gathering where participants bring their own drinks in a BYO style while my wife prepared just something to bite. <br />
<br />
I asked the first session to the expert Akira Fukada for a lecture with the subject of music surround recording and mixing that many people were very interested. The publicity was spread through friends and relatives, and the number of participants in this first seminar was seven which looked exactly like a School-shed. The session proceeded around Mr. Fukada with copies of exhibits. <br />
One of very first participants, Kayoko Kimura, saxophone player, later played an active role to promote my School-shed, and even introduce my School-shed activity in her own Internet community. (Much appreciation!) <br />
<br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivMj3dMI6lmsQmv10eUZEDZGQdIkylIqHVAcZXfVna0l92f5172pBRl5dpEz2M_1VDh_851juvtSM634oajYia9kvy4NCAeAvnSof1um6DE5m8MoZPtA1C1kdhYbRRZ5h6XcDkFI02kA/s400/%25E5%25A1%25BE%25E6%25B7%25B1%25E7%2594%25B0%25E4%25BC%259AOK_1.jpg" /><br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMeFtGsx4L_TCFYynFhGAGk2dviZIjxMv1wPzHcyoGfqeJ0ydxvzSFyyfXddJ1g8f1WHJvCEC5K6-Smk_HZJjfXfwjdpXs0pcO0rNIya0XCciKMKEgHDuExsxamSuIl8qYftRJQR-6rA/s400/%25E5%25A1%25BE%25E6%259F%2593%25E5%2585%25A8%25E5%2593%25A1%25E3%2583%25BC%25EF%25BC%2591_1.jpg" /><br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh76I4BczcrVjLjGgvFJOnoA3G3ccn192FYK-sez3GgkBzkRRPadSjxMRNfDL68RYJnH_GN5opXxVWR95F-K2BWhmYC7rttXg11Rm0Tbfq4FI-vW-OwQC1ldAYiWIJnZ95B2dvKg4bhJw/s400/%25E4%25B8%25AD%25E6%259D%2591%25E5%25A1%25BE%25E5%2585%25A8%25E5%2593%25A1_1.jpg" /><br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkBVjMbhMZe0g72FWGpNRM4fYAvBz0LH3nPbEyn16fAWsptj5c4aB9cuqUKN9ysJlZPfmIzqBo_Kp2kkddDMHL6UUirvV8mhimBWArZQgZysZ3qG6grgKRljKWPxQdZx5kkShwmZALQ/s400/%25E5%25A1%25BESEIGENN%25E5%2585%25A8%25E5%2593%25A1%25E3%2583%25BCOK_1.jpg" /><br />
<small>Picture-3: September, 2003. The start of first surround School-shed session (top), and the participants in the second, the third, the fourth sessions (downward)</small><br />
<br />
While I held the sessions regularly, participants themselves spread the words to bring new participants next time, and this community grew gradually. Depending on the subject, applications to participate came beyond the capacity of my house occasionally, and securing the new meeting facility was one of the next challenges. In 2002, I could get to know Mr. Suzuki of Marantz through the "Home Theater Event" held in Shinjuku Keio Plaza hotel sponsored by Monthly New Media, and he kindly offered me their show-room in Ebisu. Mr. Suzuki had been in charge of surround installations in U.S.A. for many years, and was one of people who wishes to spread surround in healthy form in the home in Japan as well. In their facility, it was fully equipped to our convenience, and 30 to 40 people could join. I was able to begin the catered Surround School-shed in this way. There was a suggestion by Mr. Seigen Ono who joined me to lecturer in 2003, and he uploaded the content digests every time on the web. "It's unfortunate if this ends only with participants. We should report the content every time as we can use my Saidera site." My need soon expanded beyond the borrowed home page in Saidera site, and I felt the serious need for a dedicated "Surround School-shed Home Page". However, I had neither the skill of the home page production nor the know-how. I tried various applications to see the ways in each program, and decided to use Dreamweaver with some advice from an expert. From here was a hardship ... just as hard as the road to surround! <br />
<br />
School-shed Home Page Opened - The Growing Circle of Surround People <br />
A customer of my wife's live house Unamas in front of Mitaka station extended the support who was a professional designer/illustrator. I took the lesson for beginner's class and asked for the entire design of my homepage at a bargain price. This completed the look of my web. <br />
<br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2M_1OFH-FpPKNLvo44aoRxuBQNI3o0eTBcu0SgjXtW8dvqmE2d_X3CVWIUIwCMRYnpdwWs2Vk2iYoUjUtCJBjRaFQWPCU0UO4T0ynShaYBjPPb6hFDApbpvI3IQEPAqdMMghXy4yDg/s400/10-4.jpg" /><br />
Picture-4: Surround Terakoya (School-shed) HP top page<br />
<a href="http://surround-terakoya.jp/">http://surround-terakoya.jp/</a><br />
<br />
Now what should we do with the report of each session? I hoped to rotate around the participants by assignment, but because everybody was busy, the reports tended to delay, and we faced difficulty in timely uploading the topics for a while. Sorry to say this, but if you look at my web page, there are many holes in the early days. As 2005 was the year of my retirement, I could have more free time and I updated the reports more timely using tape recording of articles occasionally with pictures of activities. <br />
Other than reports, I upload my archives of skills and know-hows about surround production, information and the latest trends from overseas, and surround content production reports in the section titled Mick-News, and also upload example music that look inspiring to students as Recommended Software. A strong reinforcement appeared this year for this. It was Mr. Ishii of Otaritech who was a great surround music fan and collected some 200 titles, and he introduced to us among them those useful to listen to as reference. <br />
<br />
A careful management of personal information became essential for compliance, and the proper contact-management on e-mail basis looked burdensome, and thus I added a BBS in my home page. This is the site that Mr. Yasumatsu, illustrator, participating the School-shed introduced me to. My intention was for everybody to exchange comments openly and freely in this place, but this is not functioning as expected. After all, e-mail seems most convenient to exchange opinions in messages, but at the same time it is delicate because a lot of open contact information is in the risk of spams these days. <br />
<br />
Mr. Mitsuzuka is a shakuhachi player active in the traditional Japanese music group called TONE who was interested in surround performance for a long while, and visited our School-shed. His desire was realized in the autumn of 2006 in the form of DVD-A to be released. Other young generation artists and engineers also steadily experience and acquire the world of the surround sound. They experiment and produce a demonstration for themselves, and their efforts will soon be fruitful. A young engineer/musician, Ichiro recorded his first piano-solo concert in April, 2006 and brought it to our School-shed for a demo. It is delightful to see some participants recently brings their demo pieces saying "let's listen to my latest work" which generates an atmosphere of the School-shed not being one-sided passiveness. <br />
<br />
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibE8WDKHY8YOiUh9mOtPG2okWTRMUqFT_SPGfoIU1-hkYtaNW3gvp1XZX7KMiSPBJ3NthICIloT6Nk4FOawq4b7f-eN959rHLj3mxVqI16zNWyDP0pryk_0atmbEDAZ1oba52sUfjwhA/s400/040718+sona+%25E5%2585%25A8%25E5%2593%25A1%25E3%2583%25BC%25EF%25BC%2591_1.jpg" /><br />
<small>Picture-5: The catered Surround School-shed at Sona</small><br />
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In addition, the members to travel long-distance to participate such as Toyama and Osaka are increasing, too. I now hope that School-shed branches pop up voluntarily here and there in many places, then the circle can expand further. In foreign countries, such an activity tends to turn into a business immediately, but I think that it may be the secret of perdurability that we run it relaxingly in the NGO style. (Naturally the reality side of reason is that I am not so good at business.) <br />
<br />
Many invited lecturers came to talk voluntarily, and I learned this type of approach from friends in foreign countries. In fact top professionals think that once one has built a certain level of position in the industry, he has responsibility to hand his philosophy of life down to the next generation. Because the idea that unpaid devotion is his own honor is commonly penetrated, such an activity is often administered by a celebrity, and thus the circle can spread. Probably it may be due to the Christian view of the world. While I held a session on an interested theme every month, the exchange of opinions by the School-shed members heatedly swelled on the theme around present conditions of the music industry and the surround production by young generations after having Mr. Takada, Chief Engineer of JVC Victor Aoyama studio make a demo and a talk in the spring of 2003. <br />
I quote here some e-mails exchanged at that time. <br />
<br />
1. Regarding the path toward spreading surround: <br />
Make people impressed to motivate them to get one. Arrange a surround corner in coffee shops where they naturally and unconsciously experience surround in their daily life. The strongest impact comes without expecting it while they tend to try to be ready if they know it is coming. <br />
Appeal the way to remove the bottleneck when they feel the practical installation is a tough challenge despite that they want to have a surround setting in their room through the experience. <br />
It's pricing. Ideally speaking, the price range should be comparable to cassette portables, below 30,000 Yen for DVD-Video system, or below 65,000 Yen for a system with DVD-AUDIO/SACD player. I think that surround package systems are available for less than 30,000 Yen, but many of them may not deliver sufficient quality low frequencies with such 5-channel speakers. Hopefully, it would be nice if they reproduce signals as low as 80Hz ... <br />
So I think the third issue has come close to the reality. Then how can we deal with the first and the second after all? Anyway, until one experiences it, it remains as "the pie in the sky", so I want to have them try to find how "delicious". Being a person myself who ate a pie and was fascinated with its deliciousness, I really wish that this attractive fact is extended to other people in the world. <br />
<br />
2. I may have expressed this repeatedly already, but musicians strive for not only ideas of compositions and arrangements but squeezed wisdom that would allow them to step out from the present condition, and I think that Surround School-shed is the perfect place for them to exchange their thoughts. People from various fields gather to openly voice their opinions and contribute in mutually present ideas. I really appreciate that I can participate in such a community every time. As in the previous e-mail, the lecture of Mr. Tomita covered from composition to final mix throughout, and above all it was the class to consider how you could make your own composition valuably fit in the music media and penetrate it to listeners. Perhaps no music colleges offer such lessons, and it was truly indispensable four years that money cannot buy. In addition, we learned here that the music that has assumed surround from the stage of composition bears a significant meaning and power. We composers without a support in our back must find a method that replaces the present for the next. I hope it can be found under the key-word of "surround to get popular". <br />
<br />
3. Those who have surround environment around me (business partners, relatives, acquaintances) may exceed 30%. In each different home environment, people think and tweak ideas, and enjoy this process apparently. On the other hand, the lack of contents is disappointing, music in particular! <br />
As you know, almost all movies are produced in surround. Surround is the standard format of the DVD, and even delivery formats cope with surround. Even NTT indicates their great expectation in the future Windows Media Player with surround (http://flets.com/square/51ch/51ch_what.html), and 30% of PS2 users enjoy games with surround. The situation continues to be improved. I feel the rapid growth of surround compared to five years ago. <br />
How long did it take for stereo to penetrate in the home environment during its growing stage? I guess when the consumers bought or replaced a radio or a television set, the stereo feature was almost automatically found in the product. In contrast, the introduction of surround is subject to the consumer's choice. The playback environment varies and I wonder if it was same in the time of stereo? <br />
Let's involve record company A&R. As for my working colleagues, surround is already a requirement. Pasting still pictures animation files along with audio within the DVD-V specifications is quite enjoyable. Let's stimulate the music industry more than ever through the <power of our School-shed>. <br />
<br />
Those were the topics discussed through e-mails for a while! In addition, some members wanted to hear the talk by Mr. Isao Tomita and I sounded him on its possibility through Mr. Fukada, then we received from him a willing consent in 2004. The actual session and the social exchanging opinions were very much swelled discussing the theme of "the relation of recording industry and retailers". The relation between the art and the business lives with a tangle any time. Having enjoyed the atmosphere at that time perhaps, Mr. Tomita told me "I will participate in the school as a member because I liked it", and has been a regular member thereafter. In addition, as he had had a master class in Shobi Music School, some students of his such as Mr. Nojiri and Mr. Oshima came to participate, too. When the composer who considers the space expression in the stage of composition gains presence in the world, a true surround sound space will be realized, and it rightly triggers the next generation music. Mr. Nojiri has already released 2 DVD-Audio albums of his own work in surround music. <br />
<br />
<b>Lecturers from Foreign Countries</b> <br />
Mr. Kobayashi of Sanken Microphone has been doing overseas business for a long time and said "we would want to invite lecturers to this Surround School-shed from foreign countries some day. Let's plan an opportunity for organizing it." And a chance unexpectedly came in 2005. Mr. George Massenburg sent to Mr. Kobayashi his surround recording sound source and a document with his recording philosophy for the School-shed members. Shown below is the part of his introduction: <br />
<br />
<blockquote>An introduction to my work by George GML <br />
To all of my friends in Japan, and also to one of my oldest and dearest friends, Minoru Kobayashi, but especially to my mentor and spiritual guide, Mick Sawaguchi, a master of all things audio.<br />
Looking back over my work, I think I do the best job with acoustic instruments. One of my best-known records is The Trio, with Dolly Parton, Linda Ronstadt and Emmylou Harris, and it's basically an acoustic record. Why I do this well I don't know? Maybe I believe that an acoustic instrument - in its complexity, responsiveness and huge dynamic range - provides more of an opportunity to convey emotion and also the underlying story of a piece of music.<br />
Or maybe it's because extracting a performance on an acoustic instrument is such an arduous, demanding endeavor that the musicians you meet are... well, better and smarter.</blockquote><br />
In the received sound source was a very impressive performance by a blues guitarist called J. Randy that realized spacious music perspectives. The recording was made in Capital Studio, and according to the data, the formation was purely acoustic strings of ten players laid out in the shape of a circle around J. Randy. For surround, four SANKEN CO-100K microphones were used, and his loving acoustical music wrapped the surround space to enchant all the members listening to this. <br />
Later on, there was an opportunity for Eliot Scheiner to visit Japan on December 6, 2005 because he won "Expertise of the Sound" award, so I sent him a request to lecture in our School-shed on 7th following the award ceremony the day before while he was in Japan. He delightedly accepted it and spared approximately 1 hour 30 minutes in the afternoon despite his tight schedule to return home from Narita, and talked earnestly about his own music and why he did surround. Because it was a very stouthearted message regarding music and surround expression, I sincerely recommend you to read it in my School-shed homepage. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLs169qPPa0qUoOhbhQgZKohki57lJ6QFKIw_N7ekla6aQmuBscNFcSNXu5opzsYVblbn2I5Ez0JE5RllKJDHxMgQQqbYPSWpqWOFRFummcEazSH90eTuLzP9wH1yTHclYlseGjAWyow/s1600/gm.jpg" imageanchor="1" style=""><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLs169qPPa0qUoOhbhQgZKohki57lJ6QFKIw_N7ekla6aQmuBscNFcSNXu5opzsYVblbn2I5Ez0JE5RllKJDHxMgQQqbYPSWpqWOFRFummcEazSH90eTuLzP9wH1yTHclYlseGjAWyow/s400/gm.jpg" /></a><br />
<small>Picture 6: Document from George Massenburg</small><br />
<br />
<img border="0" height="267" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpFGvNdw9_XTyIEd4PGNcjvw6K8alYTY05Uef3podh5h85n338sYTlO0FXgxviXgLUDCXxFkFEVuLEZjIfQixca-rkhI-V8IrTZ7KM4awJCgXjZUjoZOdIFaq9HsD4-M9Jxe-evKvcAQ/s400/051207terakoya_1.jpg" /><br />
<small>Picture 7: With Eliot Scheiner, December, 2005</small><br />
<br />
In April 2006, I got an e-mail from W. Woszczyk, one of my AES pals and music department professor of McGill University in Montreal, Canada informing me of his staying in Japan for a couple of months, and I automatically invited him to lecture. <br />
<br />
<img border="0" height="254" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCEBaCHA8TMEVnl94T7gcIFxWD5-1cxmEa2WOuZ6LHmyOkKVkV4GL76WVZNJqg7sARprUUguwFA4iFZbRB9Tua6MI4BhWmSmlkEeVPdDZvsAf4cHOzVfdYTHCJ5ZD_9nhPq5Hxa2bnQ/s400/060521terakoya07_1.jpg" /><br />
<small>Picture 8: Catered surround School-shed at Onkio Haus, May, 2006</small><br />
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<img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzhFuW7U41LS1r4xdn8N7MS8ikx7k1DeATy_pgbUcflNLCa4RgCfmXT46dPbu7Pe-fIDTP-vdPb2FRVkyd5ZEjjk67mFauV4hotvFFkcC0IevkzCfDyDhe7chTvE3pL0A5h1Ug9oSSMQ/s400/060625%25E5%25AF%25BA%25E5%25AD%2590%25E5%25B1%258BGS_1.jpg" /><br />
<small>Picture 9: Pleasant exchange of opinions after the lecture, June, 2006</small><br />
<br />
<img border="0" height="234" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OIO7SiZ4KxZR9rdr0mPOvrOehb6ztpKh9te6dKBD7XPVG60VY2xGVyazuDAoFfA_2GQAp0_PdsE1od5YlwO9ZlOCfOKC8OzbSEnRVUapK1VLGNnWH7ztjXRdmB4E5xoMKSQQ-5EMrA/s400/060709gs_1.jpg" /><br />
<small>Picture 10: The latest catered surround School-shed in July, 2006 at Marantz</small><br />
<br />
Studies of surround dimensions were active in this university, and we had him talk about height relations and immersive sensation of sound. In the wine party after the lecture, he praised the youths in Japan studying surround eagerly as their life work, and expressed that Japan was the exact field of his surround researches.<br />
<br />
<b>Japanese Surround Prize Foundation One Day...</b><br />
I also want to promote a composition competition or an award as the gateway of such young composers devoted to surround. I want to deliver the process in which we bring up the young musicians to compose music with surround from their very beginning and provide them an opportunity to be recognized in the world from Japan. There are a lot of such examples historically as current Academy Award, Grammy, Cannes Film Festival, Tchaikovsky and Chopin competitions. However, we can see none that clearly brings surround as a subject anywhere, and I am eager to build a global situation for cultural creativity, especially form Japan. Furthermore, I think that it is my duty to introduce the thought of such artists to the world and with the advent of high quality networking, a development of some new business models would be possible. <br />
The active efforts by Seigen Ono and Octavia Fine NF are the pioneers in package media, and in the foreign countries are sprouts of Nexos, PENTA-TONE, DMP, Telarc are Chesky producing surround titles, and in this year, a small label offering surround recordings of eastern European classical performance called Lipinski became visible. I think that it is important to offer high-quality contents contrasting to enjoy music anywhere with a mobile DAP. <br />
<br />
This series proceeded quickly and now leaves only two more times. For the remaining two sections, I plan to introduce some thoughts and hints that I collected through my encounters with seniorities and younger people in the form of interviews.<br />
<br />
2006.10 Broadcast Technology<br />
<br />
<a href="http://51terakoya.blogspot.com/2011/04/road-to-surround-part-11-special.html">Part 11: Special Interview with Mr. Kazutsugu Uchimura >>></a><br />
<br />
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