Recording and Voice Processing, Volume 1 - Jean-Michel Reveillac

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1.13. The electric pick-up (top) and the membrane read head (bottom)Figure 1.14. Examples of electric pick-up phono cabinets (wireless telegraphy). ...Figure 1.15. A mechanical phonograph case. For a color version of this figure, s...Figure 1.16. Curt Stille’s magnetic reader-recorderFigure 1.17. Fritz Pfleumer with his magnetic tape machineFigure 1.18. The AEG K1 tape recorder (the letter K stands for “Koffer”, the sui...Figure 1.19. A 4 (rpm) disk and its cover. For a color version of this figure, s...Figure 1.20. An electrophone from the 1950s. For a color version of this figure,...Figure 1.21. Pick-up and groove of a stereophonic LPFigure 1.22. The Nagra I news reel-to-reel tape recorder with miniature lamps. F...Figure 1.23. An 8-track tape and its internal structure. For a color version of ...Figure 1.24. The Akai GXR-82D 8-track tape player/recorderFigure 1.25. A limited edition 8-track released in 2009 – Cheap Trick – “The Lat...Figure 1.26. The Telefunken 76 (Tube) tape recorder, 4 tracks (stereo 2 X 2 trac...Figure 1.27. The different formats of magnetic tape recordingFigure 1.28. One of the first mini-cassette player-recorders with its microphone...Figure 1.29. A type I – C90 (2 X 45 min) mini-cassette from TDK. For a color ver...Figure 1.30. The Tascam 122 MKII professional cassette deck. For a color version...Figure 1.31. The Portastudio 144 stand-alone multitrack from Tascam (1979). For ...Figure 1.32. A musicassette – Metallica – “Master of Puppets”. For a color versi...Figure 1.33. A trimicron disk from MDR. For a color version of this figure, see ...Figure 1.34. A 24-track 2-inch multitrack (Studer A800 – MKII), a standard of ex...Figure 1.35. The first CD released by Sony, Billy Joel – “52nd Street”. It came ...Figure 1.36. The first two commercial CD players, the Philips CD100 (left) and t...Figure 1.37. The first portable CD Player, Sony D50 “Discman”Figure 1.38. Studer D827 Mk II (DASH 48 tracks) with its remote control console....Figure 1.39. Sony PCM 3324 S digital multitrack (DASH 24 Tracks). For a color ve...Figure 1.40. A studio DAT player-recorder – Sony PCM 2800Figure 1.41. A DAT cassette (73 x 54 10.5 mm), on the left, compared to a mini-c...Figure 1.42. A DCC cassetteFigure 1.43. The Matsushita RS-DC8 technics DCC player-recorderFigure 1.44. The first-generation ADAT Blackface player from Alesis. For a color...Figure 1.45. An S-VHS tape for use with an ADAT recorder. For a color version of...Figure 1.46. The Tascam DA-88 digital player-recorder. For a color version of th...Figure 1.47. A 90 minute Hi-8 cassette (95 x 62 x 15 mm). For a color version of...Figure 1.48. The imposing Akai DR1200 reader-recorder with its bank of vu-meters...Figure 1.49. The Fostex D80 hard disk recorder – 8 tracks (1996). For a color ve...Figure 1.50. Tascam MX-2424 – 24-bit, 96 kHz, 24-track hard disk recorder (2004)...Figure 1.51. A minidisc. For a color version of this figure, see www.iste.co.uk/...Figure 1.52. The Tascam MD-801R MKII minidisc player-recorder. For a color versi...Figure 1.53. Digidesign sound designer (left) and sound tools (right)Figure 1.54. The Audiomedia II board in Nubus format for Apple Macintosh. For a ...Figure 1.55. The 888 interface for Pro Tools III. For a color version of this fi...Figure 1.56. Pro Tools 2020 version. For a color version of this figure, see www...Figure 1.57. Evolution of the vinyl record market worldwideFigure 1.58. The T560 vinyl engraving bench of the German manufacturer Souri’s A...

      3 Chapter 2Figure 2.1. The stages of sound creation in a human beingFigure 2.2. The different elements of the phonation chainFigure 2.3. Larynx and vocal cords, the key elements of the voice’s timbreFigure 2.4. Thoracic cage, sternum and intercostal muscleFigure 2.5. The oblique and transverse abdominal musclesFigure 2.6. The soprano rangeFigure 2.7. The mezzo-soprano rangeFigure 2.8. The alto rangeFigure 2.9. The tenor rangeFigure 2.10. The baritone rangeFigure 2.11. The bass rangeFigure 2.12. Concept of voice quality1

      4 Chapter 3Figure 3.1. Sir Charles WheatstoneFigure 3.2. Johann Philipp ReisFigure 3.3. Reis’s telephone with its transmitter (microphone), left, and receiv...Figure 3.4. The water microphone of A. G. Bell and E. Gray Over the months, the ...Figure 3.5. One of the sketches of the telephone patent filed by A. G. BellFigure 3.6. Principle of the carbon microphone. For a color version of this figu...Figure 3.7. Schematic diagram of a dynamic moving coil microphone. For a color v...Figure 3.8. Charcoal microphone pad. The diaphragm can be seen on the right thro...Figure 3.9. A triodeFigure 3.10. Schematic diagram of a condenser microphone. For a color version of...Figure 3.11. The first mass-produced condenser microphone, the Neumann CVM3 (192...Figure 3.12. Principle of the piezoelectric microphone. For a color version of t...Figure 3.13. Two vintage shotgun microphones: top: Sony ECM672 (1985), bottom: E...Figure 3.14. Three germanium transistors. Their dimensions speak for themselves,...Figure 3.15. The double membrane capsule, named M7, built by G. Neumann. For a c...Figure 3.16. The electret microphone and its principle. For a color version of t...Figure 3.17. The MEMS microphone and its principle. For a color version of this ...Figure 3.18. Evolution of the microphone over time. For a color version of this ...Figure 3.19. Pressure transducer. For a color version of this figure, see www.is...Figure 3.20. Sum of incident and reflected waves. For a color version of this fi...Figure 3.21. A phase shift of 180° cancels the signal. For a color version of th...Figure 3.22. Acoustic operation of a pressure gradient microphone. For a color v...Figure 3.23. The frequency response curve of a Shure SM58 MicrophoneFigure 3.24. Directivity diagrams of a Shure SM58SE microphoneFigure 3.25. The directivity diagram for a perfect omnidirectional microphoneFigure 3.26. The directivity diagram for the Shure SM80-LC omnidirectional micro...Figure 3.27. The directivity diagram for a perfect hemispherical microphoneFigure 3.28. The directivity diagram for the AKG C547BL hemispherical microphone...Figure 3.29. The directivity diagram for a perfect bidirectional microphoneFigure 3.30. The directivity diagram for the Audio-Technica AT4080 bidirectional...Figure 3.31. The directivity diagram for a perfect cardioid microphoneFigure 3.32. The directivity diagram for the Shure D5C cardioid microphone on th...Figure 3.33. The directivity diagram for a perfect supercardioid microphoneFigure 3.34. Comparison of supercardioid directivity, green and dotted, and card...Figure 3.35. The directivity diagram for the Rode NTG-2 supercardioid microphone...Figure 3.36. The directivity diagram for a perfect hypercardioid microphoneFigure 3.37. The directivity diagram for the Audio Technica AT4053b supercardioi...Figure 3.38. The directivity diagram for a perfect subcardioid microphoneFigure 3.39. The directivity diagram for the Audio Technica AT808G subcardioid m...Figure 3.40. The directivity diagram for a perfect shotgun microphoneFigure 3.41. Directivity diagram for the Rode NTG-1 shotgun microphones, left, a...Figure 3.42. Two power supplies, the Neumann M149A model specifically for the Ne...Figure 3.43. A transformer with its core and two windings. For a color version o...Figure 3.44. A typical microphone transformer (14 x 10 x 12 mm). For a color ver...Figure 3.45. A 1 ms audio signal sampled at 96 kHz. For a color version of this ...Figure 3.46. Microphone configuration according to the Blumlein system. For a co...Figure 3.47. Microphone configuration according to the MS system. For a color ve...

      5 Chapter 4Figure 4.1. Direct sound and indirect or reflected sound. For a color version of...Figure 4.2. Foam bass traps for wall corners (Auralex)Figure 4.3. Absorbing panel type bass trap (t.akustic)Figure 4.4. Porous absorber – absorption curves (without absorber (green), absor...Figure 4.5. Example of an attenuation curve for a Helmholtz absorber. For a colo...Figure 4.6.

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