Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.

Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.

Preface ixIntroduction xiiiChapter 1 Recording History 11.1 In the beginning was the phonautograph 11.2 When it really started 21.3 Magnetic recording 81.4 The advent of 78 rpm 91.5 The magnetic tape and the LP 151.6 8-track cartridges, mini-cassette and Trimicron 201.7 The compact disk and the advent of digital technology 271.8 Digital technology is essential 291.9 Hard disk recorder and minidisc 361.10 Microcomputer, direct-to-disk and DAW 381.11 To conclude 42Chapter 2 The Voice 452.1 The vocal apparatus and its functioning 452.2 Voice and breath 482.3 Song and speech 492.4 Frequency, intensity and timbre 502.5 Voice and range 512.6 Voice quality 542.7 Characteristics of the vocal timbre 552.8 Conclusion 57Chapter 3 Microphones 593.1 A little history 593.2 The characteristics of a microphone 713.2.1 General characteristics 713.2.2 Specific characteristics 913.3 Microphone families 933.3.1 Microphone and transformer 943.3.2 Dynamic moving coil microphones 963.3.3 Ribbon microphones 983.3.4 Condenser microphones 1003.3.5 USB microphones 1043.4 Uses of microphones according to their directivity 1073.4.1 Omnidirectional microphones 1073.4.2 Bidirectional microphones (figure-8) 1073.4.3 Cardioid microphones 1093.5 Conclusion 110Chapter 4 The Acoustic Environment 1114.1 Location of pickup and sound isolation 1114.2 Acoustic processing 1124.2.1 State of the art 1124.2.2 Bass traps 1144.2.3 Acoustic diffusers 1234.3 Acoustic booths 1304.4 Accessories 1324.4.1 Acoustic shields 1324.4.2 Pop filters 1354.4.3 Headphones 1364.4.4 Microphone suspensions 1424.4.5 Feet, poles, and arms 1424.4.6 Bonnets 1464.5 Conclusion 148Conclusion 149Appendices 151Appendix 1 Sound Unit 153Appendix 2 Audio Connectivity 161Appendix 3 Audio Processing Plugins 171Appendix 4 Tube and JFET Microphone Amplifiers 177Appendix 5 Microphone Pairs 181Glossary 195References 203Index 213