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Certified eSupport, Corp. Is an organization made up of talented engineers, certified trainers, and network administrators. We focus on speech recognition, dictation, and transcription—including software and hardware, in standalone and enterprise implementations. The microphone element is 1 to 3 inches from the side of your mouth, and try to keep its position fairly consistent. The microphone is not designed to lie on the table.
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1: EastWest/Quantum Leap Symphonic Orchestra, Platinum Edition comes on 19 DVDs divided into four volumes. As computers become increasingly more powerful and mammoth hard drives become more affordable, desktop orchestrators are flocking to gargantuan multigigabyte orchestral libraries that would have been completely impractical just a few years ago. EastWest, in collaboration with Quantum Leap, has now joined the fray with its own impressive and truly unique four-volume library (see Fig.
What sets the Symphonic Orchestra library apart from the competition, aside from its 24-bit resolution, is that every sample is offered from three stereo microphone perspectives: close-up mics for detail and clarity with minimal reverb, a full mix from a cluster of stage mics, and a set of mics high at the back of the auditorium. That last perspective offers the full reverberant ambience of the modern American concert hall where the recordings were made, and it provides the necessary material to fill out a realistic surround-sound mix, if you are working in a multichannel format. How to extract images for gifs on mac. SOUND ON SOUND The three mic perspectives were recorded simultaneously and assembled into three separate-but-complementary 44.1 kHz multisample patches for each instrument preset.
Because the samples from the different mic positions have been accurately phase aligned, you can use them in any combination, and they sound perfectly natural. By playing all three patches for a particular instrument (they are provided as preset multis or individually), you can change the listener's perspective relative to the instrument by dialing in more or less of the different mic positions. For example, you can produce a highly reverberant far-away sound by boosting the ambient patch and fading out the close-up patch. Or you can bring an instrument forward in the mix (for a solo, perhaps) by adding more of the close-up mics. EastWest refers to this feature as “audio zoom.” Moreover, the three-perspective approach virtually eliminates the need for outboard reverb, because you can blend in anything from relatively dry (close-up only) to fairly heavy (ambient only) reverb.
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Of course, you can use the close-up patches alone and add your favorite reverb, but then you'd lose the great sound of this excellent recording space. The ambient hall mics often add more reverb than I need, so I like to blend the close-up mics (which add definition, especially on attacks) with the stage mics (which add a more expansive stereo image). This library, however, is also designed to accommodate surround mixes. In that application, you would typically use the stage-mic patch for the front-left and front-right channels, the close-up patch (either the left or right channel alone) for the front-center channel, and the hall-mic patch for the left and right rear channels. All of the instruments in the Symphonic Orchestra library were recorded in their proper orchestral positions.
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