Page 25 - 2013 Spring

Fig. 1 Sony Pictures Scoring Stage.4
The volumes indicated above do not approach concert hall sizes, yet the reverberation times are sometimes in the concert hall range. This factor alone can result in a very active acoustic environment, which can overwhelm the direct microphone pickup. Even purpose-built classical studios, such as Abbey Road Studio 1, do not possess adequate vol- ume to support their 2.2+ second reverb time with a large symphony orchestra. Most classical engineers will prefer con- cert halls, assembly halls or churches to recording studios for their largest ensemble projects.
Because Scoring Stages are required to support diverse ensembles, there has been an increased use of isolation rooms in these facilities. All of the four existing US Stages (MCM/Fox/Warner’s/Skywalker) and both of the UK Stages (Air Lyndhurst/Abbey Road) have multiple isolation rooms capable of housing drums, percussion, grand pianos and small vocal groups. This permits simultaneous recording of performances by ensembles, which might not balance acoustically in the same space. The requirements of music mix delivery also often specify separation of solo elements for use in the final mix.
Sometimes, separate sections of the orchestra or ensem- ble are recorded in isolation. Often, the entire ensemble is rehearsed and then each section is recorded separately. This could include but not be limited to: Strings, Winds, Brass, Percussion, Harp and Keyboard. Individual section micro- phones are recorded while the room or overall pickup is duplicated for each pass. This provides a recording with the
same overall room/hall sound/ambience and allows the musicians to rehearse together. Again, delivery or editorial requirements often drive this technique.
Dramatic requirements often shape the technique used to record on the Scoring Stage. While the overall approach may be symphonic, there could be instances where individ- ual instruments need to be featured, sometimes in an un- musical fashion. The use of portable baffles and microphone technique often substitute for isolation rooms when the fea- tured instrument is also playing along with the full ensemble. Additionally, the perspective of the recording often needs to change with the dramatics. A chase scene would require a closer, more aggressive orchestral pickup than a love scene, even though the cues may be recorded back-to-back.
Recent experimentation with active electronic modifica- tion has been prevalent. The ability to extend reverberation times through electronic enhancement has proven workable, as well as slight modification in the overall characteristic of the room (via equalization). A more inert environment can be adjusted to a larger hall acoustic for a symphonic approach, while shorter reverb times with increased early reflections can aid in musician monitoring across the room.
The key word is versatility—any ensemble, any recording technique and a quick change between sizes and techniques are mandatory. (See Figs. 1 and 2)
Recording and mixdown techniques and technology
Even with the introduction of sound-for-film, there has
24 Acoustics Today, April 2013