LA BARRERA DEL SUEÑO II
The Max/MSP patch already generated sound that was played randomly in a quadraphonic system, so it was only necessary to apply the processes of reverb and volume automation used in all the pieces. Additionally, the original tracks have a flanger effect.
LA BARRERA DEL SUEÑO I
The piano was recorded using the same microphone setting as Hammering's. The sound from the microphones was located in the sound system to simulate that the listener was inside the piano and not in front of it. The stereo version image was set as wide as possible. This piece also used an automated compressed reverb for surrounding space reinforcement.
THE MUSIC OF ERICH ZANN
Five microphones for surround mixing and four microphones near the guitar's bridge were used. There is panning and volume automation and reverb at different levels in all tracks. There is compression in the original tracks. One more time, a background noise was included with a compressed reverb from the original signal, which was automated to reinforce the surrounding space.
Five microphones for surround mixing, a pair of microphones for room and four microphones near the piano's harp were used. The two channels of the electronic part were recorded directly from the computer. Once again, there were processes of reverb, compression and volume automation in all tracks. Finally, an automated compressed reverb was used for surrounding space reinforcement.
An octave trasposition of the original files was done. The original and transposed tracks have reverb and volume automation
THE VOICE OF THE DEAD
After the recitation was recorded, a file of each line of the text was done and uploaded to a Max/MSP patch, which processed all the files to be listened randomly in a quadraphonic system. For the mixing process three noises were included, two of them added digitally and one coming from the piece's own reverb. The equilized noises' panning was automated to exagerate the sensation of surrounding space. Almost all tracks have compression. All tracks have normal and compressed reverb and volume automation.
The production of the project “Ars Involvendis” consisted on the recording, edition, mixing and mastering of 3 different versions of 6 pieces, grouped in a triple album. Each disc contains 6 tracks with a different version of each piece.
The recording process was done in two sessions. Voice and guitar were recorded in the first session. A 1905 Petrof piano and media recording from the laptop were done during the second session. The microphones that were used in both sessions were:
For the mixing process, all the DSP was done analogically using the following equipment:
Lexicon PCM92 Reverb and Effect Processor.
Massenburg GML 8200 Equalizer.
Dbx 160sl Compressor.
D.W. Fearn VT-5 Vacuum Tube Stereo Equilizer.
Chandler Limited Curve Bender EMI TG12345 Equilizer
Each piece includes random processes, that is why a different version for each disc was done. Similar DSP's were used in each of the discs to unify the album. Generally speaking, volume automation, compression and equalization were applied in each track. Four pieces have panning automation as part of their own electronic processes, however, “The Music of Erich Zann” for amplified guitar and “The Wall of Sleep I” for solo piano were the only pieces of the album for solo acoustic instruments. In order to integrate these two pieces within the concept of the album, studio automation processes were done. Compressed reverb travelling on fixed spatial pathways was used to provide these pieces a sense of motion. For the binaural version, the pieces were mixed again in 5.1 channels, using the processes previously described. Finally, the resulting channels were spacialized with a binaural plug-in.
The processes that each piece had are described next. All of them were similar in each version.