Recording and Voice Processing, Volume 1. Jean-Michel Reveillac

      

      Table of Contents

      1  Cover

      2  Title Page

      3  Copyright

      4  Preface

      5  Introduction

      6  1 Recording History 1.1. In the beginning was the phonautograph 1.2. When it really started 1.3. Magnetic recording 1.4. The advent of 78 rpm 1.5. The magnetic tape and the LP 1.6. 8-track cartridges, mini-cassette and Trimicron 1.7. The compact disk and the advent of digital technology 1.8. Digital technology is essential 1.9. Hard disk recorder and minidisc 1.10. Microcomputer, direct-to-disk and DAW 1.11. To conclude

      7  2 The Voice 2.1. The vocal apparatus and its functioning 2.2. Voice and breath 2.3. Song and speech 2.4. Frequency, intensity and timbre 2.5. Voice and range 2.6. Voice quality 2.7. Characteristics of the vocal timbre 2.8. Conclusion

      8  3 Microphones 3.1. A little history 3.2. The characteristics of a microphone 3.3. Microphone families 3.4. Uses of microphones according to their directivity 3.5. Conclusion

      9  4 The Acoustic Environment 4.1. Location of pickup and sound isolation 4.2 Acoustic processing 4.3. Acoustic booths 4.4. Accessories 4.5. Conclusion

      10  Conclusion

      11  Appendices

      12  Appendix 1. Sound Unit

      13  Appendix 2. Audio Connectivity

      14  Appendix 3. Audio Processing Plugins

      15  Appendix 4. Tube and JFET Microphone Amplifiers

      16  Appendix 5. Microphone Pairs

      17  Glossary

      18  References

      19  Index

      List of Illustrations

      1 IntroductionFigure I.1. Vocal differences in the same sentence. 3D spectrogram of a male voi...Figure I.2. A wire recorder, the Webster Chicago 180-1 (1949). For a color versi...Figure I.3. The famous Neumann U67 tube microphone and its power supply. For a c...Figure I.4. The famous EMI Abbey Road studio 2 control room with its REDD.37 con...

      2 Chapter 1Figure 1.1. The phonautograph. For a color version of this figure, see www.iste....Figure 1.2. Charles Cros’ “paleophone”Figure 1.3. Edison’s phonographFigure 1.4. A Pathé sapphire pick-up for a vertically engraved disk. For a color...Figure 1.5. Emile Berliner and his first phonographFigure 1.6. The Columbia Graphophone Grand. For a color version of this figure, ...Figure 1.7. The “Edison Concert” phonograph. For a color version of this figure,...Figure 1.8. Poulsen’s “telegraphone”Figure 1.9. The Columbia Multiplex, with its three pavilionsFigure 1.10. Pathé’s “Poisson” Pantograph. At the left end is the engraving styl...Figure 1.11. Pathé’s “Poisson” principleFigure 1.12. A Columbia double-sided 78 with its cover. For a color version of t...