The music recording studio, a dedicated venue for recording music for nearly two decades, is growing rapidly and its form is constantly changing. It cooperates with and enhances the recording production process and the sound pickup technology, which greatly promotes the development and update of sound quality processing equipment and technology. During this period, there have been natural reverberation music studios with adjustable reverberation time, short reverberation music studios, strong sound-absorbing music studios, and a quiet-end music studio. At the same time, ancillary facilities such as booths and soundproof screens are widely used in the studio. Despite this, the natural reverberant music studio still plays an irreplaceable role in music recording.
1. Reverberation time of large music studios in China 2. Volume of rooms: The long reverberation natural reverberation music recording studio for recording serious music such as symphony requires a considerable volume, which is not only the reverberation time and The requirement for sound diffusion is more important to avoid sound saturation in the room.
The so-called indoor sound saturation is that the indoor sound pressure level is too high. Too high a sound level is a sound "blow" in the sense of hearing, deafening; and for music with a fairly wide frequency distribution (especially serious music such as symphony), it is possible to pass the highest microphone in some frequency bands. The sound level is allowed, so it is difficult to correct it by the sound attenuation after the microphone. It is known that the size of the indoor sound level is mainly determined by the room constant and the sound power of the sound source. For smaller volume rooms, if you want to ensure a longer reverberation time, it is bound to reduce the sound absorption of the indoor surface. Under the same conditions of sound source sound power, the indoor sound pressure level must be correspondingly increased; roughly speaking, the highest sound level of listening music is about 100 decibels. Common sense tells us that a piano with a sound power of about 0.4 watts plays in a general room (reverberation time of about 0.8 seconds) and a large symphony orchestra (sound power of about 60 watts) plays in a concert hall with a reverberation time of 2 seconds. The listeners think that their sound level is appropriate in their sense of hearing. If the playing environment of the two is changed, the former sound level is too small (so many concert halls have to adopt a sound reinforcement system), and the latter (and assumed that possible) sound level is inevitably tolerable. The usual view is that a music studio that fully utilizes natural reverberation is actually the best in a concert hall with a volume of more than 10,000 cubic meters.
An effective way to solve the problem of sound saturation is to appropriately increase the sound absorption in the room. The increase in the sound absorption coefficient of the indoor boundary surface is equivalent to increasing the volume of the room in effect, but it also inevitably reduces the reverberation time in the room. As far as recording is concerned, it is of course possible to supplement it with artificial reverberation in practice, but such a recording studio can no longer be used as a natural reverberation type.
3. Diffusion of the room: Although the diffuse sound field in the strict sense is difficult to achieve, most of the body shape is irregular or the length, width and height are appropriate. The large sound recording surface or the reflective surface of the room is suitable for large music studios. The diffuse sound field is basically required, for example, there is no clear and intermittent reflected sound, the sound field distribution is substantially uniform, the directional diffusion is better (the d value is above 0.9), and the like.
It is worth noting that due to the size of such music studios, if not handled properly, it is likely that the necessary pre-reflection sound is lacking. Although the exact relationship between the pre-reflected sound and the sound quality is still unclear, it is certain that it will have an important influence on the feeling of intimacy, grandeur and intensity of music. Indoors, early reflections, direct sounds, and reverberation sounds also play an important role in feelings of distance and room size. Even if the reverberation time is appropriate, if the pickup point lacks the pre-reflection sound within 50 milliseconds, the sound quality problem may also occur, such as the sound "floating".
4. Reverberation Radius: Although the reverberation radius of the room is not an independent parameter describing the acoustic state of the room, it is of great practical significance for describing the reverberation of different locations in the room. In other words, by means of the reverberation radius, different amounts of reverberation can be picked up at different locations in the room until the maximum amount of reverberation determined by the room is reached.
Recording in a natural reverberant music studio, a basic requirement is to keep as much information as possible while the music is playing. Since the volume of such a recording studio is quite large and the reverberation time is relatively long, the theoretical value of the reverberation radius does not differ too much from the measured value. This allows the reverberation radius value to be determined from the volume and reverberation time of the studio. By using the concept of the reverberation radius and properly picking up the pickup points, it is possible to successfully pick up the sound of the entire band with only one microphone. The usual practice is to first make a specific adjustment based on the reverberation radius and then adjust it according to the sense of hearing to accurately select the distance between the microphone and the sound source and the specific position where the microphone is placed.
It must be noted that for large music studios with a constant reverberation time, the reverberation radius is not a fixed value over the band's entire frequency range. It is related not only to the frequency characteristics of the reverberation time of the studio, but also to the directivity of the instrument and the directivity of the microphone.
Regardless of the microphone directivity effect (which is discussed separately in the next chapter), only the sound source and room factors are due to the low frequency reverberation time of the music studio compared to the intermediate frequency (500 Hz) and the high frequency. . When the volume is constant, the corresponding reverberation radius will be shorter than the medium and high frequency; the radiation characteristics of the instrument will show considerable directivity due to the difference in frequency. The directivity of most instruments increases with increasing frequency. It is known that, relative to a non-directional sound source, when the directivity factor is 0, the increase of the reverberation radius is (V/Q-1)ro, and therefore, as the frequency increases, the reverberation radius will further increase ( Because at this time Q>1). Contacting the orchestra's seats (see Figure 6) always puts the stringed instrument in front of the band, followed by the facts of woodwind, steel pipe and triangle bell; it is very interesting acoustically. It provides good acoustic conditions for single-point pickup.
In addition, the allowable noise level of large natural reverberant music studios can be appropriately relaxed. Generally, it is recommended to be less than 25dB (A) or NC-20, while small ones should not be larger than 22dB (A) or NC-15.
Both types of music studios are mainly designed to meet the requirements of different styles and different types of music for optimal reverberation time. Therefore, they can all be called "multi-function music studios". This multi-functional studio is not compromised by sacrificing sound quality requirements, so it has certain advantages in terms of economy and production. It is one of the more popular forms of music studios. With the recent recording technology, especially the change of sound pickup technology, the quality of sound processing equipment and technology, they are getting more and more people's attention. Most of the recording studios built or rebuilt in China after the 1970s adopt this form, and they can even be applied to dialogue recording or mixed recording. This is very economical and practical.
The reverberation time of the adjustable reverberant music studio is based on the optimal reverberation time and frequency characteristics required for the music that is expected to be recorded. It is difficult for such a recording studio to meet the expected design requirements, especially in the case of a large range of reverberation adjustment, which requires high acoustic design, but from the point of view of use, it is compatible with the natural reverberation music studio. There is no difference; the natural reverberation plus the artificial reverberant music studio is different. This recording studio uses the optimum reverberation time required for music equal to or less than the expected recording as the reverberation time design value of the studio. The portion of the reverberation is supplemented by artificial reverberation. The most important feature of this studio is that it retains most or part of the natural reverberation components and gives you the freedom to make recordings.
In practice, in order to make full use of the multi-purpose room and strive to improve the acoustic conditions of the studio, many music recording studios with adjustable reverberation time are all integrated in the above two basic types, that is, from indoor acoustic conditions. The reverberation time is adjustable, and artificial reverberations of different degrees are often added to the recording production. Most of these studios are equipped with sound-proof screens, hooks that hang reflective surfaces or sound-absorbing surfaces.
The key to an adjustable reverberation studio is the area of ​​the transformable absorption and reflection surfaces. For a room with a certain volume, it is the only factor that determines the adjustable range of reverberation time. Since the indoor boundary surface area is related to the volume of the room, in order to increase the range of adjustable reverberation time, the boundary surface area to be adjusted must be increased, and in order to meet the needs of large-scale band performance, the volume of such recording studios is often bigger. However, since part of the reverberation of such a recording studio can be provided by artificial reverberation, the reverberation time in the room can be appropriately reduced, and the absorption of the indoor boundary surface is correspondingly increased, and the effect is equivalent to increasing the volume of the room, the actual The volume of the room can be reduced as appropriate. For example, the music studio (room) of China's agricultural film studio built in 1980, although the volume is only 2,860 cubic meters (the ground area is about 373 square meters), but due to the reverberation time adjustable form (reverberation) Asked to vary from 0.58 to 1.40), not only in the case of natural reverberation plus artificial reverberation, it is possible to record various types of bands from large symphonies of 120 people to popular music of several people, and In the proper use of sound insulation screens and other additional reflective surfaces, it is also possible to record dialogues or other language programs, and even for mixed recordings, and Fujian Film Studio has proposed mixing in the continued acoustic design requirements of the studio. The ringing time can be adjusted from 1.50 seconds to O. A three-state solution of 35 seconds, so that in a studio with a volume of about 1200 cubic meters (about 175 square meters), it is possible to record small orchestral or other types of music and dialogue under natural reverberation conditions, and Can be used to mix recordings.
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