Live Recording

Record production is a major aspect of many tertiary-based popular music education programs. It is a practice that involves the capturing of an artist’s vision and is realised when that vision draws an emotional response from the listener. In professional practice there are many techniques the producer learns via experience to accomplish this, but as technology develops, processes of past eras risk being brushed aside by technological advancement. The capturing of a live performance was the practical framework used by popular music pioneers and the creative results of this process have particular characteristics that are difficult to achieve by contrasting methods. This article outlines the importance of an education in live recording frameworks to tertiary popular music students; it presents learning and teaching practices that accomplish this and concludes with a case study of a live recording workshop that nurtures the students’ developing creative practice.

We explore the concept that artists perform best in front of an audience. The negative effects of performance anxiety are much better known than their related cousin on the other shoulder: the positive effects of “social facilitation.” The present study, however, reveals a listener's preference for performances recorded in front of an audience. In Study 1, we prepared two types of recordings of Träumerei performed by 13 pianists: recordings in front of an audience and those with no audience. According to the evaluation by 153 listeners, the recordings performed in front of an audience sounded better, suggesting that the presence of an audience enhanced or facilitated the performance. In Study 2, we analyzed pianists' durational and dynamic expressions. According to the functional principal components analyses, we found that the expression of “Träumerei” consisted of three components: the overall quantity, the cross-sectional contrast between the final and the remaining sections, and the control of the expressive variability. Pianists' expressions were targeted more to the “average” of the cross-sectional variation in the audience-present than in the audience-absent recordings. In Study 3, we explored a model that explained listeners' responses induced by pianists' acoustical expressions, using path analyses. The final model indicated that the cross-sectional variation of the duration and that of the dynamics determined listeners' evaluations of the quality and the emotionally moving experience, respectively. In line with human's preferences for commonality, the more “average” the durational expressions were in live recording, the better the listeners' evaluations were regardless of their musical experiences. Only the well-experienced listeners (at least 16 years of musical training) were moved more by the “deviated” dynamic expressions in live recording, suggesting a link between the experienced listener's emotional experience and the unique dynamics in music.

"Jiangnan Music" Philharmonic is chosen as an objective to study on the Debugging Live Recording technique.A Chinese Folk Philharmonic is performed in the Concert Hall for celebrating 97th anniversary of our institute.ORTF pickup pattern(Multi-pattern) is set up via the X/Y stereo technique.The axis of two microphones diaphragms is angled at 110 degrees and 17cm distance to each other.This distance and position can finely tune the desired response.According to the architecture of our institute's Concert Hall,the X/Y stereo facing down are placed the front of stage,1metre distance and 3metre height with the adjustment of the input level.It is recording around the center of the natural sound sources as more as possible with less proximity effective noise.The high-fidelity audio recordings of "Jiangnan Music" Philharmonic is made through the mics previous setting.

The positional relations between different instruments during a jazz live recording session are described,sound leakages of microphones are analyzed and solutions of controlling them are offered. Meanwhile,by analyzing the listening habits of different musicians,several principles to adjust the foldback monitoring are concluded,including distance between the musicians,the way they listen and adjustment of the headphones,which will help musicians get better balance and resultantly achieve better recording.

Perkembangan teknologi di bidang audio, memungkinkan penggunaan teknik rekam multitrack dalam proses live recording, yang dapat merekam track dalam jumlah banyak secara terpisah dalam waktu bersamaan. CMDJ Production menjadi salah satu persewaan sound system di Jawa Tengah yang menyediakan fasilitas live recording menggunakan teknik rekam multitrack dalam pertunjukan musik dangdut. CMDJ Production didirikan oleh Eko Baesoyo pada tahun 2010. Fasilitas live recording diberikan sebagai pelayanan untuk dokumentasi pengguna jasanya, dan hasil rekamanya menjadi bahan promosi CMDJ Production untuk menunjukan kualitas suara yang dihasilkan. Permasalahan yang dikaji dalam penelitian ini adalah 1) Bagaimanakah proses live recording menggunakan teknik rekam multitrack dalam pertunjukan musik dangdut di CMDJ Production Temanggung? 2) Apa kontribusi dan kendala penggunaan teknik rekam multitrack dalam proses live recording di CMDJ Production Temanggung? Tujuan dari penelitian kali ini adalah untuk mendeskripsikan proses dan mengetahui kontribusi teknik rekam multitrack dalam proses live recording di CMDJ Production Temanggung. Metode penelitian yang digunakan dalam penelitian ini adalah deskriptif kualitatif. Teknik pengumpulan data dilakukan dengan studi dokumentasi, observasi dan wawancara. Data yang diperoleh dalam pengumpulan data berupa hasil bentuk musik, rekaman video, dan foto. Analisis data yang digunakan melalui 3 cara yaitu: (1) reduksi data; (2) penyajian data; (3) menarik kesimpilan / verifikasi. Pemeriksaan keabsahan data menggunakan metode triangulasi. Hasil penelitian menunjukan bahwa CMDJ menggunakan teknik rekam multitrack merekam 27 track terpisah secara bersamaan pada mixer Soundcraft Si Performer 3 yang telah di pasang expansion card usb, yang direkam menggunakan software DAW REAPER. Suara direkam dalam format wav dengan kualitas 48kHz 24 bit. Data hasil rekaman sebesar 81 gb. Proses editing, mixing, dan mastering dilakukan di studio CMDJ menggunakan DAW REAPER. Eko Baesoyo bertugas menjadi operator mixer FoH sekaligus operator rekaman. Dari hasil penelitian tersebut, kontribusi yang didapatkan adalah fleksibilitas untuk mengolah hasil rekaman. Dengan teknik rekam multitrack dapat merekam 24 track terpisah secara bersamaan, kemudian hasil rekaman dapat dilakukan editing dan mixing dapat dilakukan lebih detail per track di studio. Kualitas rekaman yang dihasilkan lebih bersih dan lebar suaranya. Sementara kendala yang dihadapi dibutuhkan ruang hardisk yang besar untuk menyimpan data.

By using an example of Mongolia music live recording work, and combining with the sound characteristics of Mongolia instrument and vocal music, the article summarize the recording methods for ethnic music.

GPIB (Gereja Protestan di Indonesia bagian Barat) adalah bagian dari GPI (Gereja Protestan Indonesia) yang dulunya bernama Indische Kerk. Saat ini GPIB sendiri memiliki 326 gereja yang bernaung dalam kelompok musyawarah pelayanan (Mupel) GPIB. Salah satunya adalah GPIB Bahtera Hayat Surabaya. GPIB Bahtera Hayat Surabaya yang berkedudukan di daerah Surabaya bagian Utara memiliki jumlah anggota jemaat sekitar 663 jiwa. Pada saat merebaknya kasus Corona Virus Diseases 2019, atau lebih dikenal dengan sebutan COVID-19 di Indonesia, khususnya di Surabaya pada awal bulan Maret tahun 2020, berdampak pada pelaksanaan Ibadah Minggu di gereja tersebut. Banyak anggota jemaat yang menjadi khawatir untuk hadir beribadah dan memilih untuk tidak mengikuti Ibadah Minggu di GPIB Bahtera Hayat Surabaya. Berdasarkan hal tersebut GPIB Bahtera Hayat Surabaya mencoba untuk mengembangkan konsep baru untuk pelayanan ibadah minggu mereka dalam bentuk live recording dan live streaming.

Discographical sound recording process is very seldom accompanied by real sound pressure, intensity and level measurements. Usually available data are often referred to mathematical extrapolations calculated on sound recording audio signals. This article investigates the situation defined as ‘‘real’’ from a scientifical point of view, having as a referring base a Swedish precision sound level meter fresh from calibration, during the stereophonic multichannel live recording session of the Philharmonische Camerata Berlin. Comparison among reference signal and eight high quality microphone capsules signals coming from four different stereophonic standardized microphone systems devoted to discographical purpose recording (XY, ORTF, Binaurale and AB) shows big differences among the respective signals and the same recording spot measurement system position. It is noticeable how differences even higher than 6 dB can make microphone positioning particularly critical. A standardizing method is proposed.

The injury mechanism of a case of hybrid Bado type I/III Monteggia fracture had been recorded live by the parent of a gymnast in a competition. This live recording was generously offered by the parent to the treating surgeon to study the injury mechanism. The video captured was segmented by slow motion frames to study the whole process of the injury mechanism. The injury mechanism was analyzed by the authors jointly to verify the interpretation of the loading mechanism and the resultant injury. The patient had been treated with conventional method with satisfactory result.

This series of Wednesday gigs will feature Rob Burke (Sax) and legendary jazz pianist Tony Gould with long time members of the quartet, Tony Floyd (drum-kit) and Nick Haywood (bass). Each night will be recorded for a new CD to be released through Jazzhead, which will the second of a series of Cds – the first titled Live at Bennetts Lane (2011). Live recording is an important element of the group’s development as it is a true example of empathy and aesthetic; something that a recording and editing/mixing in a studio can colour. New compositions from the ensemble will be premiered along with reworked compositions of others. The music is predominantly improvised with a strong jazz and world music tradition. Significantly, the song structures are manipulated and deconstructed; very much in the moment with a focus on melodic and rhythmic beauty. All four members of the quartet are well known individually but together are one of the country’s leading quartets having performed together for over 20 years at festivals and jazz venues, touring nationally and internationally. The members of the ensemble are also leading academics in jazz studies. Professor Tony Gould and Rob Burke (Head of the Sir Zelman Cowen School of Music) are practice-based researchers at Monash University. Nick Haywood is co-ordinator of Contemporary Music at the University of Tasmania.