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 Thursday, 19 January 2006
.< 1:27:32 PM >
Concord Music Group Acquires Telarc International and Heads Up
The Cleveland, Ohio-based Telarc has been a leader in classical and jazz recordings for over 25 years.
[Via DVD-Audio and SACD News]
.< 1:15:27 PM >
CES 2006: MusicGiants Announce High-Resolution Surround Downloads...
CES 2006: MusicGiants have announced plans for high-resolution, lossless, surround downloads to be introduced later this year as part of the MusicGians Network premium music download service.
[Via DVD-Audio and SACD News]
.< 1:03:43 PM >
Good Night, and Good Luck
Speaking generally about the approach to sound in the film, co-supervising sound editor and re-recording mixer Aaron Glascock notes, “It's meant to play almost like a documentary. There are things that are missing from the sound that we would normally put in a feature, but we went for a very focused presentation because George [Clooney] didn't want anything to distract from what was being said onscreen.”
For this film, Glascock also mixed the music, which periodically appears in the film as live performances by jazz singer Dianne Reeves and a small combo. Lance Brown was the third mixer on the re-recording team, mixing Foley and managing the stage.
“The music was all recorded on the set live,” Glascock says. Adds Schulkey, “You're seeing the sync take of it. They didn't shoot anything to playback. Even that opening shot, where you travel up in the elevator and then move all the way down the hall into the studio [with the music audible the whole time] — that was a live take. Clooney really likes the challenge of doing something live.”
[Via MixCurrentIssue]
.< 11:37:35 AM >
Field Test: MOTU Traveler FireWire I/O With...
These days, laptop computers provide as much — if not more — horsepower as your desktop behemoth. As a result, the availability of audio interfaces for mobile recording is on the rise. The newest offering in this genre from MOTU is the Traveler, a complete computer-based recording system providing 20 audio inputs and 22 audio outputs.
[Via MixCurrentIssue]
.< 11:36:00 AM >
Orchestral Recording [Mix Online]
The conceit of these sorts of periodic articles, which are designed to fill readers in on the latest recording techniques, is that there is great new information to be imparted — that changes in technology have led to some sort of reassessment of the way a particular musical style is captured for posterity. But the fact is, in the world of orchestral recording, there doesn't seem to be radical departures in the way that engineers are working, even as the ultimate media destinations have almost entirely moved from tape to digital disk storage. Traditions run deep in classical music recording, and while it isn't exactly accurate to say that there's nothing new under the sun, there is still a great reliance on tried-and-true methods that have been successful for many decades, though it isn't hard to find a few new wrinkles, too.
With that in mind, we contacted four engineers steeped in the wisdom of how to best record an orchestra, whether for a classical production, a film score or as background on a pop date
[Via MixCurrentIssue]
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