New Way
Records
Unique recording method
The Symbiosis of Live sound and digital technologies
To achieve from the audio system sound
the complete identity of the real
concert performance is the cherished,
often impossible dream of any admirer
of music.
It has long been working on the
problem of authenticity of music tracks
and WALab achieved significant
practical results in the recording area,
which is confirmed by
recommendations of professional
musicians and respected audiophiles.
I. Multi-microphone method
Evolving, recording technology came to the logical end stated in the form of multichannel recording. To implement this recording process one needs to place among the
performers need to place multiple microphones, each of which is responsible for
receiving sound from a particular segment of the orchestra (soloist or instruments
group).
Another advantage - or better to say "convenience" – of MMR are the ample
opportunities for editing of recorded material. Any of the tracks you can always tweak:
disguise its flaws of performance or replace with the duplicates the not entirely
successful pieces played.
Scientific evidence shows that for sustainable perception of sounds (like many others),
the human brain is trained in the process of life. It turns out, correctly identifying the
natural structure of the sound image, experienced hearing is extremely sensitive to
any kind of surrogate. . It is to maintain the original integrity is just not possible to
achieve by multi-microphone way, when the first splited and then again, as a mosaic,
assembled sound signal - is far from being the same thing.
Defect 1: Near field
Technological features of MMR is the need to
place the microphone in close proximity to the
musicians (not more than 1 m). Its characteristic
feature is unnatural, teeming with unnecessary
details, sound production, including even such
nuances that the Performer seeks to hide (vocal
sibilance, breathing, air whistling and noise
saliva of the wind instruments, creaking chairs,
etc.). In reality, the listener, taking in the space of
a concert hall a definite place, perceives sound
picture as a whole and even a bit smoothed.
Music never sounds directly upon the ear, even
if he or she is in the first row.
Defect 2: Overloaded microphone
Sound picked up by a separate microphone can be quite loud. In such
circumstances, microphone membrane, located close to the source, in response to
excessive sound pressure, is subject to the critical deformation. As a result - we
have a catastrophic increase in harmonic distortion, of course, fixed by the
recording.
Defect 3: The fragmentation of sound
Working with a multi-channel material, the audio engineer has to contend with the
side sounds from nearby sources (instruments), and manages to get rid of only by
means of filtering and barbarous methods suppression. The situation is like trying
to give a puzzle for the whole image. But despite its skillfully assembling, the pieces
would never become a single picture, even if it depicts a real masterpiece.
Defect 4: Engineer factor
As with plasticine playing with sound, the audio engineer (not a performer!),
penetrating into the artistic intent of the composer, illegally establishes its own
authority over the interpretation of a musical work. Such power is unquestionably
disastrous.
Defect 5: The complexity and high cost
For multi-microphone recording process are required vans of expensive studio
equipment and numerous highly qualified staff.
Defect 6: "Loss" of the hall
A set of microphones in the recording
soundtrack repeatedly receives response
from the audience, as it is perceived in
different ways. With individual phase shifts
and frequency interpretation propagated
these responses are no longer able to emerge
into the source image. As a result, the sound
of the hall, as an important member of
musical action, is lost or is presented in an
unnatural, highly distorted form.
II. Bi-microphone method
The bi-microphone recording technology (BMR) is devoid of most of the above
drawbacks. Yielding BMR in detail and effectiveness of presentation, it still most
fully corresponds to the usual human perception of sound, as in many ways similar
to its physiology. The listener, staying in a specific location of a concert hall, picks up
the sound in two hearing – his or her ears. Similarly, and two electronic signal
receiver, placed in the selected position in the room, being as close in sensitivity
characteristics and directivity to the organ of human hearing, are the most capable
for correctly recording of the sound vibrations. The absolute symmetry of the
channels (both in design and in the spatial configuration) provides a virtually
complete identity recorded by each microphone signals.
By virtue of the presence of a large distance
between the receivers (microphones) and
sources (the performers), on which a certain
intensity reduction already exist (which the
brain percepts loyally) is excluded from the
obsession over every single detail of the party
executive. Overcoming the distance, the sound
finds its true, familiar look. Because, again, the
listener at a concert is not among the musicians
and is not at the same time close to each
instrument. In addition to listening position in a
unique combination flock also many still echoes
the hall. They are, in the true proportions
agreeing with the perception of the basic
musical information, give reason to the brain to
treat acoustic environment as a natural
environment. Also, at a distance the
microphones are not overloaded.
About space (room) factor
Reverb effects surround humans everywhere. The
dependance, discovered by mankind, between the
sound nature and the shape and size of the room
marked the beginning of a whole direction in
architecture, is called theatrical architecture. Its task is to
design spaces with acoustic properties that are in
harmony with the music and voices.
It gives us particular pleasure to note that the brilliant
composer Richard Wagner was very picky regarding halls
architecture, where his works were performed. Created
under his watchful eye the festival theater in Bayreuth
was the first temple of art, intended for execution of
works of a particular author.
Point G
It leads to a very definite conclusion: in order
to provide the most comfortable perception
when listening, comparable with the
perception of a live performance, an approach
to recording, which would provide a complete
collection of audio information in a particular
region of space and further to its integrity. In a
professional environment, this area is called
the pickup point. This search for the optimal
location of the pickup point in a particular
room, an ideal point G, is the main challenge
facing the experts taking produce high quality
recording BM methodology.
In every hall there is an ideal point for listening - “point G". In this point two
microphones are to be installed. The photo below: the Milan Auditorium and the
Wagner Audio Lab microphones.
Bolshoi Theater, New Stage
Mariinsky Theater, Historic Stage
Moscow Tchaikovsky Conservatory
New method
In time having detected the deviation of modern recording of the course on the
careful preservation in the original musical material integrity, WagnerAudioLab
drew attention to the fact that so far it is the old archival recordings made by a
primitive (by today's standards) bi-microphone technology, continue to serve as
models of the involved live sound . In an effort to remedy the situation, our
laboratory has developed its own method of record, as well as a unique leadingedge equipment, this technique provides extremely high-quality implementation.
Thus, drawing on international experience, it is a return to the roots at a new stage
of technological evolution spiral WALab sees its historic mission - to give the
listener pristine live performance. Originality is a fundamental principle of
Naturalbimic technology, according to which, the recording is conducted on two
specially designed microphone. Subsequent manipulations of the received audio
material are prohibited.
Advantages
Bi-microphone recording technology from WALab is capable of such amazing results only
through the verified combination of original technique with specially designed hardware.
The structure of a unique hardware solution includes:
• Unique, truly balanced microphones.
• Microphone cable by symmetrized litz wires - full path component.
• Pre-amplifier circuitry with supertransformator WALab without costing operational
amplifiers (op-amp).
• Analog-to-Digital Converter (ADC) of its proper design, which provides the highest level
of quality.
The Naturalbimic technique does not require mixing console, additional equipment,
numerous personnel and ambitious engineer. The recording process is controlled by a
single person - the operator acting strictly according to instructions and does not infringe
on the viability of the sound image.
Conductor’s participation
in the recording creation
The conductor attunes the orchestra
during rehearsals, listens in real time
the recording from the recording point,
and not from the conductor's console.
In the course of our unique experiment,
the conductor heard not analog sound
created by groups of instruments, but
already digital, passed through
microphones and converter. This is the
sound that the listeners will hear.
On the photos: the rehearsal of Beethoven's Violin
Concerto and Schubert's Unfinished Symphony in
the Milan Auditorium.
Experts acceptance
The maestro Jader Bignamini while
acceptance of the Opera recording in
the Bolshoi Theater
The Maestro Valery Gergiev accepts the
recording after the Concert in the
Mariinsky Theater
History
As is generally known Russian scientific and research
institutes and military enterprises have accumulated an
enormous amount of scientific and technological knowledge,
its results being known all over the world. To name but a few
Russian scientists: Vladimir A. Kotelnikov , an outstanding
scientist in the field of radio physics, electronics and
computer science, who formulated the sampling theorem
(1932), a theoretical basis for all digital audio devices
including ADCs and DACs; Zhores I. Alferov, a Nobel Prize
Winner in 2000, the researcher of semiconductor
heterostructures, lasers and photodiodes. Let’s recall also the
Russian scientists who worked abroad and made a
considerable contribution to world science and engineering.
Among them is Vladimir K. Zworykin (RCA) who invented
modern television, Alexander M. Poniatoff (Ampex) who
designed the first video recorder and many others.
Wagner Audio Lab researcher’s team
was made up from representatives of
All-Union Scientific and Research
Institute of Broadcasting Reception and
Acoustics named after A. Popov*
(VNIIRPA) and employees working
formerly in Russian military industry.
Unfortunately the negative tendencies
in Russian economy during the 1990s
caused several research institutions
including VNIIRPA (and a lot of military
plants) to shut down. Nevertheless the
creative ideas borne in Popov’s Institute
are now being realized by its former
employees working with Wagner Audio
Lab. So it’s natural enough that the
Russian engineers continue to offer
unique technologies.