Apparent source width: Difference between revisions

Revision as of 20:05, 1 January 2022

Revision as of 01:15, 26 January 2022

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==Music production==

In [[audio mastering]] and [[sound recording and reproduction]] a major task of the [[recording studio]]`s [[audio engineer]]s and [[record producer]]s is to make musical instruments sound huge.<ref name="huge">{{cite book|last1=Levinit|first1=D.J.|editor1-last=Greenbaum|editor1-first=K.|editor2-last=Barzel|editor2-first=R.|title=Audio Anecdotes|publisher=A K Peters|___location=Natick|volume=vol. I|isbn=978-1568811048|pages=147–158|chapter=Instrument (and vocal) recording tips and tricks|date=2004-03-11}}</ref> The increase of apparent source width is as important as [[Equalization (audio)|spectral balancing]] and [[dynamic range compression]].<ref name="mastering">{{cite book|last1=Kaiser|first1=C.|title=1001 Mastering Tipps|date=2013|publisher=mitp|___location=Heidelberg|page=23,40}}</ref>

This is can be achieved with established recording techniques, like [[Microphone practice#A-B technique: time-of-arrival stereophony|A-B technique]], [[Blumlein pair|Blumlein technique]], [[Microphone practice#M/S technique: Mid/Side stereophony|M-S technique]], [[ORTF stereo technique]], [[Microphone practice#X-Y technique: intensity stereophony|X-Y technique]], or by experimenting with different types of microphones and microphone locations, like [[Microphone#Dynamic|dynamic microphones]], [[Microphone#Ribbon|ribbon microphones]], [[Microphone#contact microphone|contact microphones]], [[boundary microphone]]s and [[Microphone#Speakers as microphones|loudspeakers as microphones]].