Various - Anechoic Orchestral Music Recording

  • Songer: Various
  • Album: Anechoic Orchestral Music Recording
  • Size: 1526 mb
  • Label: DENON/Nippon Columbia, Japan ‎– PG-6006
    Type: CD, Compilation, Stereo
    Country: Japan
    Date of released: 1988
    Category: Non-Music, Classical
    Style: Special Effects, Technical, Field Recording
Various - Anechoic Orchestral Music Recording

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Tracklist

I. ANECHOIC RECORDING PROGRAM
1 MOZART: Overture - "Le Nozze di Figaro" 4:19
2 MENDELSSOHN: 4th mov. - Symphony No.3 in a minor, Op.56 "Scottish", bars 396-490 2:20
3 BIZET: Menuet - "L'Arlesienne" Suite No.2 4:13
4 Johann & Josef STRAUSS: Pizzicate-Polka 2:35
5 GLINKA: Overture - "Ruslan and Lyudmila" 5:22
6 VERDI: Prelude to Act 1 - "La Traviata" 3:27
7 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 517-573 1:41
8 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-20 1:55
II. ANECHOICALLY RECORDED SAMPLES FOR EVALUATION
9 HANDEL/HARTY: No.6 - Water Music Suite, bars 1-11 0:21
10 MOZART: Overture - "Le Nozze di Figaro", bars 1-18 0:16
11 BEETHOVEN: 4th mov. - Symphony No.9 in d minor, Op.125 "Choral", bars 1-7 0:10
12 BRAHMS: 1st mov. - Symphony No.4 in e minor, Op.98, bars 354- 362 0:17
13 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573 0:28
14 TCHAIKOVSKY: 1st mov. - Symphony No.4 in f minor, Op.36, bars 1-6 0:20
15 MAHLER: 4th mov. - Symphony No.5, bars 1-3 0:25
16 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-3 0:22
III. SAMPLES OF SOUND WITH SIMULATED REVERBERATION
Mozart: Overture - "Le Nozze di Figaro", bars 1-18
17 a) Addition of Wien Musikvereinssaal's reverberation 0:17
18 b) Addition of Amsterdam Concertgebouw's reverberation 0:17
19 c) Addition of Boston Symphony Hall's reverberation 0:17
Bruckner: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573
20 a) Addition of Wien Musikvereinssaal's reverberation 0:29
21 b) Addition of Amsterdam Concertgebouw's reverberation 0:28
22 c) Addition of Boston Symphony Hall's reverberation 0:28
Debussy: Prelude a L'Apres-Midi d'un Faune, bars 1-3
23 a) Addition of Wien Musikvereinssaal's reverberation 0:23
24 b) Addition of Amsterdam Concertgebouw's reverberation 0:23
25 c) Addition of Boston Symphony Hall's reverberation 0:23
IV. INSTRUMENTAL COMBINATIONS AND SCORE-READING
BRAHMS: 1st mov. - Symphony No.4, bars 386-407
26 1. Full orchestra (Timp. + Hrn. + Trp. + Fl. + Ob. +Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II + Vln. I] 0:33
27 2. Timp. 0:32
28 3. Timp. + Hrn. + Trp. 0:31
29 4. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. 0:32
30 5. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. 0:32
31 6. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. 0:32
32 7. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla. 0:32
33 8. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II 0:33
34 9. Full orch. (Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II + Vln. I) 0:33
V. DIFFERENCES IN SOUND RECORDING METHOD
MOZART: Overture - "Le Nozze di Figaro", bars 1-50
35 (a) Omni-directional Single-point pickup recording 0:53
36 (b) Omni-directional Single-point pickup + Time-coherent recording 0:53
37 (c) Uni-directional Single-point pickup recording 0:53
38 (d) Multi-mike setup recording 0:53
39 (e) Multi-mike setup + Time-coherent recording 0:53
BRUCKNER: 1st mov. - Symphony No.4 in E-flat
40 (a) Omni-directional Single-point pickup recording 0:48
41 (b) Omni-directional Single-point pickup + Time-coherent recording 0:48
42 (c) Uni-directional Single-point pickup recording 0:47
43 (d) Multi-mike setup recording 0:48
44 (e) Multi-mike setup + Time-coherent recording 0:48
VI. TEST SIGNALS FOR MEASUREMENT OF ROOM ACOUSTICS
45 1001 Hz Sine Wave Channel Check (L-R) -15dB 0:29
46 1001 Hz Sine Wave -l5dB 0:29
47 1 kHz, 5 Hz - 22.05 kHz Sweep -20dB 1:07
48 1001 Hz Toneburst (EIJ) 0dB 0:29
49 1001 Hz Toneburst (EIAJ) 0dB 0:29
50 Impulse I (I Sample) 100ms ±20% (random) cycle. 256times OdB 0:29
51 Impulse II (I Sample) 4S ±20% (random) cycle, 8times OdB 0:27
52 Pulsive Signal (40ms) 7S ±20% (random) cycle, 4times OdB 0:30
53 White Noise Uniformly distributed noise in the M-.sequence OdB 2:02
54 L: 25Hz, 31.5Hz, 40Hz -20dB / R: 31.5Hz -16dB 0:16
55 L: 50Hz, 63Hz, 80Hz -20dB / R: 63Hz -16dB 0:13
56 L: 100Hz, 125Hz, 160Hz -20dB / R: 125Hz -16dB 0:13
57 L: 200Hz, 250Hz, 315Hz -20dB / R: 250Hz -16dB 0:13
58 L: 400Hz, 500Hz, 630Hz -20dB / R: 500Hz -16dB 0:13
59 L: 800Hz, 1 KHz, 1.25KHz -20dB / R: 1 KHz -16dB 0:13
60 L: 1.6KHz, 2KHz, 2.5KHz -20dB / R: 2KHz -16dB 0:13
61 L: 3.15KHZ, 4KHz, 5KHz -20dB / R: 4KHz -16dB 0:13
62 L: 6.3KHz, 8KHz, lOKHz -20dB / R: 8KHz -16dB 0:13
63 L: 12.5KHZ, 16KHz, -20dB / R: 16KHZ -16dB 0:10
64 Pink Noise -14dB 0:27

Notes

Masahiko Enkoji conducting OSAKA PHILHARMONIC ORCHESTRA

Recording/Aufnahme/Enregistrement:28 July (Juli/juillet) 1987, Minoo Civic Hall, Osaka

Recording Director/Aufnahmeleitung/ Directeur artistique: Katsuhiro Tsubonou / Yoshiharu Kawaguchi/DENON

Recording Engineer/Tonmeister/Ingenieur du son: Norio Okada, Katsuhiro Miura/DENON

Technology/Technologie/Technologie:Takeaki Anazawa, Keizo Inokuchi/DENON

Editing/Schnitt/Montage sonore:Gen'ichi Kitami/DENON

Design of anechoic room and measurement/Entwurf des schalltoten Raums und Messung/ Conception de la chambre sourde et mesures: Takayuki Hidaka, Kenji Kageyama, Sadahiro Masuda/ Takenaka Komuten, Co.,Ltd.

Construction of anechoic room/Bau des schalltoten Raums/Construction de la chambre sourde:Takenaka Komuten, Co.,Ltd.

This recording was made possible thanks to the technical cooperation provided by the Technical Laboratories of Takenaka Komuten, Co.,Ltd./Diese Aufzeichnung wurde ermoglicht durch die technische Kooperation der Technical Laboratories der Takenaka Komuten, Co..Ltd./ Cet enregistrement a ete realise grace a la collaboration technique des laboratoires Ltd/de Takenaka Komuten, Co.,Ltd.

Barcode and Other Identifiers

  • Barcode: 081759017105
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