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  1. 2 Musicologica Slovaca et Europaea

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  1. 2 2005

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  1. 1 Grečnár J.

  2. 1 Nagy Š.

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1

NAHRÁVANIE HUDBY PRE FILM A TELEVÍZIU: MIKROFÓNNE TECHNIKY A NÁSLEDNÉ SPRACOVANIE NASNÍMANÝCH HUDOBNÝCH ZDROJOV SIGNÁLU

100%
Grečnár J.
Musicologica Slovaca et Europaea
|
2005
|
vol. 22
67-88
EN
Preparing music for television has its specific features. Sound recording by microphones belongs among most difficult activities in electro acoustics, because it includes a lot of immeasurable subjective elements. Electro acoustic chain of good quality is the basic prerequisite, harmony between the recorded sound and the space acoustics as well as the artistic professionalism of the sound engineer are among essential conditions. Communication between the composer and the sound engineer comes to the forefront when a sound image in a multi-channel format is being created. The composer and the sound engineer have to consider: microphone techniques and the resulting technical and artistic elements, the size of the membranes, the number and the arrangement of microphones, stereo and multi channel microphone technology, panorama stereo, special setting of microphones to record three foreground channels LCR, OCT Surround, mixing of music and the building of artificial space.
2

SIGNÁLOVÉ REKONŠTRUKČNÉ PROCESY A MOŽNOSTI ELIMINÁCIE SKRESLENÍ

80%
Nagy Š.
Musicologica Slovaca et Europaea
|
2005
|
vol. 22
105-124
EN
The increase of the computing output and of the speed of disc recording medium enabled the development of new technologies of signal processing in digital domain, whose basic characteristic is a low degree of degradation of recorded signal content. The development of these technologies oriented on the decreasing of the signal degradations has a cardinal influence on the formation of new acoustic-aesthetic criteria. The problem of acceptance of acoustic records created before the formation of digital technologies is basically the problem of signal processing, whose direct consequence is the necessity of transformation of the original data content of the acoustic record and its re-creation in transformed version on new recording medium. This process of transformation nevertheless, cannot be understood only as a simple change of coding and recording of the information resultant from the change of recording medium. Exactly the acceptance of new acoustic-aesthetic criteria enforces to include in the transformation process of coding and recording of data in addition processes oriented on elimination of degradations resulting from the processes of coding and recording of the record on the original recording medium. These processes are generally called signal reconstruction processes.
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