Recording of anechoic symphony music

Tapio Lokki, Jukka Pätynen, Ville Pulkki
2008 Journal of the Acoustical Society of America  
Acoustics 08 Paris 6431 When designing the acoustics of a concert hall, it would be beneficial to be able to use real recording of a symphony orchestra in auralization. The technical constraints for such recordings are high. First, the instruments have to be recorded separately, as in simultaneous recording the cross talk between microphones can not be avoided. Second, the recording room should be anechoic. Third, the instruments have different sound radiation patterns, thus the instruments
more » ... ld be recorded with multiple microphones around them. Therefore, we end up recording each instrument individually in an anechoic chamber with multiple microphones. To produce timing and interpretation information to players a conductor video was shown on a small display. The video included also a piano track that the players could listen to with headphones while playing his/her own part. Four short passages, from 2 to 4 minutes from different music styles were recorded. The recordings were made with 20 low-self-noise microphones, mounted on the shape of the dodecahedron. Finally, we discuss the musical and technical quality of recorded sound, and the response by the musicians, who were professional orchestra musicians.
doi:10.1121/1.2936008 fatcat:m34bv64lvbfgtfcvjrpjnlnbsy