Jean-Michel Reveillac - Recording and Voice Processing, Volume 2

4 Chapter 3Figure 3.1. Green area for correct microphone placement. For a color version of ...Figure 3.2. Placements to limit reflections with a cardioid microphone. For a co...Figure 3.3. Usable locations with a bidirectional microphone. For a color versio...Figure 3.4. Two removable acoustic panels (gobos) behind a microphone . For a col...Figure 3.5. Correct placements for acoustic panels (blue) with an omnidirectiona...Figure 3.6. Second solution for correct placement of acoustic panels (blue) with...Figure 3.7. Solution for correct placement of acoustic panels (blue) with a card...Figure 3.8. Solution for correct placement of acoustic panels (blue) with a bidi...Figure 3.9. A simulation of a booth with three acoustic panels. For a color vers...Figure 3.10. Some cleats of different sections Figure 3.11. Manufacture of the frames with the help of brackets Figure 3.12. Acoustic absorbent cotton in rolls (Metisse) and acoustic rock wool...Figure 3.13. Placing the absorbent panel in the frame Figure 3.14. Back of frame with stapled fabric. For a color version of this figu...Figure 3.15. Placing the back. For a color version of this figure, see www.iste....Figure 3.16. Assembly of the two panels with hinges. For a color version of this...Figure 3.17. A standing panel. For a color version of this figure, see www.iste....Figure 3.18. Swivel feet attached to the base of a frame. For a color version of...Figure 3.19. Using a sound barrier (SE Electronics) Figure 3.20. A cardioid condenser microphone placed within a sound screen (Vicou...Figure 3.21. The Audio Technica AT2020 USB microphone Figure 3.22. Frequency response curve of the Neumann U87, top, and the Rode nTi,...Figure 3.23. A Neumann U87 microphone and its spider-like suspension Figure 3.24. A pop filter in front of a condenser microphone Figure 3.25. Desktop voice recording. For a color version of this figure, see ww...Figure 3.26. From left to right, stand microphone, boom microphone up, boom micr...Figure 3.27. Microphones on articulated arms Figure 3.28. Placing a microphone high up with a slight tilt Figure 3.29. Lateral shift of the microphone to the right or left. For a color v...Figure 3.30. Notion of distance from the microphone, closed fists, open hand Figure 3.31. Poor and good handling of a vocal microphone. For a color version o...Figure 3.32. The influence of hand position on the frequency response curve of a...Figure 3.33. Position of the monitor speaker according to the type of microphone...Figure 3.34. Voice recording configuration with a Focusrite Scarlett 2i2 interfa...Figure 3.35. Voice recording configuration with a Solid State Logic SSL 2+ inter...Figure 3.36. Two interfaces from the 2010s, the Apogee Duet FireWire and the MBo...Figure 3.37. High-end digital audio interfaces with integrated DSP processing (M...Figure 3.38. The TPB Pro Audio mvMeter 2 measurement plugin. For a color version...Figure 3.39. An HPF filter with the Avid Protools seven-band equalization plugin ...Figure 3.40. A low shelf filter with the Avid Protools seven-band equalization p...Figure 3.41. A bell filter with the Avid Protools seven-band equalizer plugin . F...Figure 3.42. The Renaissance DeEsser plugin from Waves and the De-Esser plugin f...Figure 3.43. A great classic, the Urei 1176 taken over by Waves, in the form of ...Figure 3.44. A reference in the field of tube compressors, the Teletronix La-2a,...Figure 3.45. The Echoboy delay plugin from SoundToys Figure 3.46. The Valhalla Vintage Verb reverb plugin. For a color version of thi...Figure 3.47. Four performers in front of an MS pair Figure 3.48. Live configuration, one microphone per performer Figure 3.49. Configuration with two crossed bidirectional microphones Figure 3.50. A 1.20-m active pole (Schoeps RC) Figure 3.51. An application of the 3:1 rule with three microphones placed in fro...

5 Chapter 4Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoder Figure 4.4. The Roland SVC-350 vocoder Figure 4.5. Talkbox with a synthesizer Figure 4.6. The MXR talkbox Figure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoder Figure 4.4. The Roland SVC-350 vocoder Figure 4.5. Talkbox with a synthesizer Figure 4.6. The MXR talkbox Figure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...

6 Appendix 1Figure A1.1. Sound level scales (source: Wikipedia). For a color version of this...Figure A1.2. Comparison of bel, decibel (dB SPL) and pascal (Pa). For a color ve...Figure A1.3. Psophometric diagram (weighted curve) dBA

7 Appendix 2Figure A2.1. Some models of coaxial jacks. 1) subminiature 2.5 mm mono male jack...Figure A2.2. The different contact points for the 6.35 mm jack connectors Figure A2.3. A “Bantam” or TT patchbay cable in TRS version Figure A2.4. Pinout of the 3-pin XLR connectors Figure A2.5. Wiring diagram of a classic XLR cable. For a color version of this ...Figure A2.6. Wiring diagram of XLR jack adapters. For a color version of this fi...Figure A2.7. Wiring diagram for an insert cord. For a color version of this figu...Figure A2.8. Different types of USB connectors Figure A2.9. Different USB connectors Figure A2.10. Some Sub-D connectors and a female Sub-D/XLR breakout cable. For a...Figure A2.11. BNC male and chassis connectors Figure A2.12. RCA male and female connectors and chassis. For a color version of...Figure A2.13. Toslink male and chassis connectors Figure A2.14. A Toslink/Mini Toslink cable

8 Appendix 4Figure A4.1. Principle of the AB pair Figure A4.2. An AB pair Figure A4.3. Principle of the XY pair Figure A4.4. An XY pair (source: www.dpa-by-audio2.fr ) Figure A4.5. The Rode NT4 XY stereo microphone Figure A4.6. Principle of the ORTF pair Figure A4.7. An ORTF pair (source: www.harmonycentral.com ) Figure A4.8. Principle of the MS pair Figure A4.9. An MS pair Figure A4.10. Principle of the Decca tree Figure A4.11. Decca tree installation (source: www.musictech.net ). For a color v...Figure A4.12. Principle of the Blumlein method Figure A4.13. A Blumlein installation (source: www.musicradar.com ). For a color ...Figure A4.14. Principle of the Faulkner Array Figure A4.15. Principle of the sound-absorbing disk method Figure A4.16. A Jecklin Disk installation (source: Wikipedia). For a color versi...Figure A4.17. Principle of the artificial head Figure A4.18. Neumann KU100 artificial head