Zvok narave

[orc.perc]

Kaj je tisti zvok nedefinirane višine, v bistvu nek pok, pboouuu, pboouuu..?
Je to zaradi rokovanja s snemalnikom ali so to sunki vetrèka?

Predlagam stojalo, lahko nastaviš visoko, tik nad tlemi, dober kot...
Oz. zašèita, krznena èepica proti sunkom vetra, saj so ledvièke mikrofoni, ne?

A imaš vkljuèen kompresor?
Vsaj pri zvonovih se tako sliši...

Keep on with good work!
_________________
-1/3oct.REar

[longplay]

To je zaradi rokovanja.
Vetrolovov nisem imel namešèenih imam jih pa originalne.
Kompresor boknedaj, niti sluèajno.
Samo LPCM 96/24 z pretokom 4608 Kb/s pride v poštev.
Doma sem pretvoril v mp4 976Kb/s nato pa še You Tube naredi svoje.
Bom pa kupil stojalo absolutno. Tudi dodatna mikrofona sta mi zadišala.
Dvokanalno snemanje je zakon, ker tukaj ni umetne stereo slike.
Takšen kot je posnetek je.
Tu ni štirih šestih ali veè mikrofonov, in potem mešanje v umetno stereo sliko in doloèanja kaj bo levo, in kaj desno. To je pristna stereofonija.

[JAZZZ]

[Mr.Zigy]

[orc.perc]

Kar se snemanja na terenu tièe predlagam, da predgledate tale forum:

http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/

Mislim da je nek roèni snemalnik, "shaver" oz. handy èisto ok za prvi stik s snemanjem. Meni je prišel prav kot Line in zadeva, ko sem zaèel uporabljat mic.; dobil sem si baterijski nebalansiran pre, gre za hi-fi opremo, v bistvu adapter, èe si imel doma kak dinamièni mic in si zadevo priklopil na aux. S kondenzatorci je zadeva bolj komplicirana, + kot pravi Jazzz, "mic in" je neuporaben, fantomsko napajanje je vprašljivo,...

�e bi mene kdo spraševal bi za zaèetek predlagal veèji Korgov prenosni DSD recorder in par omnijev.. Drugaèe pa kar Zoom H1, simple in poceni
_________________
-1/3oct.REar

[vintagesonic]

[longplay]

Doma imam en èlanek v katerem piše èe bi tak snemalnik pred snemanjem albuma Nebraska imel Bruce Springsten namesto štirikanalnega kasetofona bi dobil tehnièno daleè èistejše posnetke.

[orc.perc]

To je res Tudi jaz sem bil kar impresioniran, ko sem glede na moje mladostniške izkušnje s Sony RecWalkmanom po petnajstih letih spet naredil posnetek doma, v sobi, na "brivnik".

Nebraska... and so they ultimately decided to release the demo version as the final album. Complications with mastering of the tapes ensued because of low recording volume, but the problem was overcome with sophisticated noise reduction techniques.

Ĺ e zgodbica z enega drugega Brucovanja:

Drum Miking: East Vs West
“Los Angeles was really into high fidelity and tube mics, and at Clover we had a very good and extensive selection of vintage mics from the ’50s and ’60s,” Scott explains. “However, when I first went to New York and suggested miking the drums with [AKG] 414s or [Neumann] U87s as overheads and a [Sony] C37 on the snare, it was totally out of the realm of what people used there. I mean, when people like Tom Dowd and Steve Cropper gave me advice, it was a case of �Hey, that sounds good!’ Thanks to them, I also used U67s on tom-toms, but when I wanted to do this during my first gig at the Record Plant the reaction was �Huh?’
“All they had were Shure SM57s, Sennheiser 421s and a few U87s. When I asked, �Well, how do you record stuff?’ I was told, �We put those on everything.’ I thought, �Wow, I can’t do that. I want some dynamics here.’ I was always very much into the dynamics of the individual performers, yet dynamic microphones are not all that dynamic because there’s an inherent compression that takes place due to the fact that you’re moving the capsule around.”
Told that no studios in New York had U67s, Scott subsequently located some that he used, together with 421s, on the bass drum.
“Another part of my drum setup was to create a tunnel by using a second bass drum in front of the main bass drum,” he adds. “Since the second one had no head and was facing the main one, it didn’t matter whether or not you had a head on the regular bass drum. I’d just put a microphone in the middle, pointing at the beater, and I got into this extensively with [session man] Jeff Porcaro, who was a drumming genius. He taught me that if the second bass drum was the same size as the main one and you tuned the head on that second one, you could then adjust the distance back and forth by a few inches so that it created this sort of compression chamber. The result was a great bass-drum sound, and by throwing a blanket over the secondary drum you wouldn’t have a lot of bass drum leakage in the room mics while still getting a very large, open bass-drum sound.”
_________________
-1/3oct.REar

[ducar]

Mene pa posnetek kot tak na albumu Nebraska popolnoma niè ne moti. Zame je to po sporoèilnosti in po èustveni plati z naskokom njegov najboljši album. Ob bok bi dal še petorni LP album s koncertnimi posnetki, ki pa tudi niso neko "kao audiofilsko dostignuèe". Pa kaj potem.
_________________
Canta e Cammina

[orc.perc]

Lp, predlagam en kratek test, ker paè sam ne nalagam na youtube, posnemi rožljanje oz. cingajne šopa/skupka kljuèev; najprej naloži zvok po svoji standardni proceduri, t.j. 92/24 pa pretvorba v mp3 format itd., potem pa pritisni še eno, ampak nastavi takoj 320k/s, bojda to yt podpira, no, pa naloži brez pretvorbe. Predlagam še, da si odpreš raèun na Soundcloudu, brez plaèila lahko naložiš dve uri zvoka, tudi v 96/24.
_________________
-1/3oct.REar

[JAZZZ]

[JAZZZ]

[trancedeejay]

HI
Jaz imam DR-07 MK2 od Tascam in mi je OK snemalnik, potreboval bi pa še kakšen XLR vhod s fantomom. Edina stvari, ki bi jo spremenil je, da mi zelo pobira nizke frekvence. �e snemam naš sestav ful pobira kontrabas, v cerkvi npr. orgle delujejo kar malo boomy. Sicer ma opcijo cut off low freq........

Have a nice Day

Matt
_________________
MUSIC IS THE KEY

[JAZZZ]

Na letošnjem festivalu Jazz & Wine sem posnel kvartet ray Anderson-Marty Elrich na Edirol R4 (zelo podoben zvok kot R44) in gre posnetek na italijanski radio ...
_________________
"There are two kinds of fools. One says-this is old and therefore good. The other says-this is new and therefore better." Bob Katz

[Mr.Zigy]