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Visita al estudio de sonido "REC DIVISION"

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Subido el 27 de junio de 2012 por David C.

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Los alumnos del Proyecto Comenius del IES Bilingüe Fortuny de Madrid visitan el estudio de sonido \"REC DIVISION\" y conocen, de primera mano, el funcionamiento del mismo y la importancia de las carreras de Ciencias y Tecnología unidas al mundo de la música y el sonido. En esta ocasión entrevistan al productor e ingeniero musical Jordi Claver Suils.

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They will feel illusions 00:00:16
Never have enough 00:00:45
It's only easy 00:00:48
That's all you can get 00:00:52
That's where you fall 00:00:55
That's where you stay 00:00:58
Have you ever felt a strong debt? 00:01:01
Feeling like there is no escape 00:01:09
or make the CDs of the audio books. 00:01:41
First you have to think about the music and it is correct, that is to say, 00:01:45
when I got into this, the first thing I did was my vocation for the music, 00:01:48
but until I can make money just for the music, 00:01:52
I have to do many other types of work and that always happens in many professions. 00:01:56
A recording studio, no matter what year it is, has been composed of two parts, minimally. 00:02:01
And one is this, which is the control, okay? 00:02:11
And then the other room, which is usually called the fishbowl, or the room where it is recorded. 00:02:14
There may be one, there may be three, there may be four, there may be an immense one, okay? 00:02:18
So that a band fits. 00:02:23
When I started in this, you arrived at a recording studio and you found a room like this, so clean. 00:02:24
You would find the typical big table full of channels, 00:02:30
the channels were called faders, ok? 00:02:35
And that's where the signal passed and you mixed it with that. 00:02:38
Today we work with computers. 00:02:41
I have the computer right there, right now, down there, ok? 00:02:44
In this case it is a Macintosh. 00:02:46
The signal that is there passes through these drawers, 00:02:48
it is processed, it passes from a tiny, tiny signal 00:02:52
that comes out of a microphone that captures a wave 00:02:56
that moves some molecules in the air, captures that sound wave and passes it through a very fine electrical signal, 00:02:59
to understand it, very thin, very thin, enters here, comes to this, which is a patch panel, okay? 00:03:07
So, that little signal that comes from the microphones, comes here to the previous microphones and is amplified, 00:03:14
and it already has a large signal with which we can work in order to have standards for television, 00:03:20
in front of a music disc and once it enters we register it that is to say that it is recorded 00:03:27
in a support that is called disc 1 I now around here to talk around here I am generating I am moving 00:03:35
the air that movement of the air generates in a membrane that is here that if you approach it you can 00:03:42
move a little lucidly it generates a movement that movement is transmitted by a transducer 00:03:48
it is transmitted so that we understand it and it passes through the cable and to show the microphone 00:03:56
chiquitita here we follow the cable and you see that there is a little box that is here in the box 00:04:04
where it is called the box and that is communicated directly with the patch panel that is shown 00:04:09
on the other side, this microphone is a condenser, the condenser microphones work 00:04:16
They are this kind of microphones that are used in the studio and that are used with anti-pop in the case of recording voices. 00:04:22
Normally when you record electric guitars or that kind of stories, they don't generate pop, 00:04:28
so they generate distortion, but they are going to generate it from that moment on during the whole recording, 00:04:33
so you already adjust the distance in the microphone, okay? 00:04:38
And all this is designed like this to generate that the waves that I will play through the speakers come here, 00:04:41
If I go to the corners, where there are some serious traps, 00:04:49
I say to myself, here it is all as if they were teeth, 00:04:52
because the teeth what they do is break the wave, 00:04:55
this in part absorbs it, breaks it, bounces it, 00:04:57
here there are absorbent things and there are like a thousand layers. 00:05:00
Really what is done, for you to know, is a cube inside a cube, 00:05:03
but that cube that is inside a cube, 00:05:08
in principle, it does not have to be touching anything with the cube outside. 00:05:10
I have worked with many famous and unknown artists. 00:05:14
Cracovia, Pinilla Bombismo, Algo Suena, Chica que hace burlesque. 00:05:23
Cracovia's album was recorded here. 00:05:29
The Zombie Kids were here the other day recording the bass for their new album. 00:05:33
Look, there was also a monkey here recording the percussion. 00:05:38
We need the helmets, put them on, okay? 00:05:51
Happy birthday to you, happy birthday to you 00:05:55
We wish you all a happy birthday 00:06:07
I love you, come on, please 00:06:14
We are doing a test for the old Netherlands, for the group Convenios 00:06:18
Okay, and what's your name, how old are you and from which institute are you? 00:06:23
My name is Viviana, I'm 16 years old and I'm from the Fortuny Institute 00:06:30
This is the sequencer, and this is called the Arrange window. 00:06:36
Arrange in English is where I place things. 00:06:42
If you notice, here I have some bricks called tracks. 00:06:46
This reminds me of what I was telling you about the studios here. 00:06:53
This is the soundboard. 00:06:58
With some commands, I can also see the wave there, okay? 00:07:01
And that's what you have done in this case. 00:07:08
An equalizer is used to manipulate frequencies, okay? 00:07:11
So now let's see what an equalizer does. 00:07:14
We are doing a test for Aliaj Holanda, for the Comel group. 00:07:16
Look, it gave an equalizer. 00:07:19
We are doing a test for Aliaj Holanda. 00:07:21
And here it is indicating two things in this graph. 00:07:23
here the frequency is worth that is from 20 to 20 thousand ok and the amplitude ok this is zero 00:07:26
you must that is what the amplitude of the wave is measured but the voice normally that covers this 00:07:36
width that is to say from 200 to 5,000 really reproduces more than 5,000 but it is let's say what our 00:07:44
is able to reproduce because for example when you are listening to the voice you hear 00:07:50
different and when you talk probably well that is what we are talking about we are 00:07:56
listening to each other inside really the voice that we hear is not the real one really the 00:08:01
real ones are the ones that listen to the rest is worth because it is the one that this is reproducing ok 00:08:06
Here is your voice. 00:08:10
You are tuning the pole. 00:08:18
The singer. 00:08:20
Can you open a program for me? 00:08:22
Let's see what helps us to tune the voice. 00:08:26
Do you see here that this moves? 00:08:32
That's what it does, I'm putting it so that the voice is tuned to C, I'm not a musician, 00:08:42
but the voices are tuned to a note, that is, to a frequency that is repeated. 00:08:47
Let's see what happens. 00:08:51
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Idioma/s:
es
Idioma/s subtítulos:
en
Autor/es:
IES FORTUNY (PROYECTO COMENIUS)
Subido por:
David C.
Licencia:
Reconocimiento - No comercial
Visualizaciones:
422
Fecha:
27 de junio de 2012 - 8:37
Visibilidad:
Público
Enlace Relacionado:
Conocer qué tipo de trabajo podemos desarrollar si estudiamos una carrera de la rama de Ciencias y Tecnología.
Centro:
IES FORTUNY
Duración:
10′ 03″
Relación de aspecto:
1.29:1
Resolución:
620x480 píxeles
Tamaño:
42.06 MBytes

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