Novaera Digital Studio (p.1)
Every CD produced by Cybertracks is the result of various
artistic and technical stages, each of which takes in important
processes which are essential in determining the final quality
of the product.
The sequence of events that gradually lead up to the transformation
into one of the CD tracks begins with the composer's initial
rough idea. First of all the most suitable sounds for the
composition are chosen and programmed as different arrangements
are tried out until the desired result is achieved, after
which the composition is played and recorded so it is ready
for the post-production phase.
This article will provide a description of this particular
stage in the proceedings, detailing the methods and equipment
used in the Novaera studios to carry out digital mastering
on all Cybertracks CDs.
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In
the post-production phase a series of processes are
carried out on the raw track ranging from mixing,
to synchronisation, correcting the sound image, the
addition of special effects, 3D Sound or Dolby Surround
processing, right up to the final "master" recording,
the first original copy from which all the other CDs
will be pressed.
In order to execute this delicate and vital role,
the Novaera Studio makes exclusive use of digital
equipment with which it is possible to maintain the
highest quality levels possible throughout each separate
operation.
The studio layout can be summarised starting with
the heart of the system, in the shape of a powerful
computerised digital mixer and a Hard-Disk multitrack
recorder.
These two main instruments are backed up by a pair
of DAT recorders, a digital multitrack tape recorder,
a CD player, a Roland Sound Space processor for 3D
Sound processing, a Dolby Surround encoder and decoder,
a series of digital signal effects units, a computer
(of course!) and a series of gadgets and devices such
as hard disk boxes, CD mastering equipment etc...
Looking at the studio as a whole with its soft lighting
and the countless coloured LEDs that flash on the
control panels, the room seems a little like the command
post on a spaceship rather than an earthly post-production
studio.
All the resulting sounds are channelled through an
amplification system and two separate pairs of speakers,
ensuring that the resulting digital sound perfection
comes through faithfully. Note the almost complete
absence of any musical instruments, apart from a solitary
powerful synthesiser kept for emergency purposes.
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This is because the job of the post-production studio is
to work on material that has already been recorded, so let's
take up where we left off and talk a little more in depth
about what this actually entails. The compositions you hear
on Cybertracks CDs are sent to the studio by the different
composers in the team already in standard digital format
after having been selected on the basis of their suitability
for the particular theme in hand.
Each composition consists of different digital tracks, that
is to say independent audio tracks, each of which contains
the single instruments used (or small combinations of them);
playing back all these different tracks together will reproduce
the composition as originally conceived by the composer.
Breaking down the composition into different tracks
is necessary in order to create the correct stereo
image and more importantly to be able to add 3D Sound
and Dolby Surround processing which may involve only
certain tracks, elements or effects in the composition
while the "base" in left unaltered.
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If,
on the other hand, we were to apply 3D Sound processing
to the composition as a whole, all the sounds would move
around resulting in the complete loss of any basic reference
point essential for perception of the movement within three-dimensional
space.
Another important advantage which comes from the tracks
being kept separate is that adjustments can be made to the
level and equalisation on each instrument, further reverb,
echo, etc. can be applied, and the sound placement can be
shifted around within the stereo panorama.
All of these operations contribute considerably to the overall
effectiveness of a composition, enhancing it with the necessary
colours and final touches.
The sound material which arrives at the studio, usually
in DAT or multitrack format, is then transferred directly
to the hard-disk recording support.
The system used in the studio is an independent unit which
can record up to 64 separate tracks onto hard-disk with
a storage capacity of 1,000 minutes of music. The quality
can be defined by the operator and varies from 44.1 Khz
(CD quality) to higher frequencies which means that even
better sound quality than that found on normal CDs can be
achieved.
The Hard-Disk recorder is controlled directly from its own
control panel and therefore does not require, unlike other
similar units, any computer interfacing.
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This
choice, although resulting in less flexibility than
offered by computer controlled units, was made in
order to make the unit independent and immediately
operative without having to deal with all the usual
(and constant!) problems of computer control, software,
peripherals etc. |
Transfer of the tracks which make up the composition is
carried out virtually automatically by means of a digital
connection which links the DAT recorder or the multitrack
recorder directly with the hard-disk unit.
Once the whole composition is on hard-disk, all the single
tracks are re-synchronised with each other, after which
all the necessary "edits" are made to parts of the composition
with no audio: it is in fact quite natural for some of the
tracks to only contain sound at certain moments in the composition
and so there are blank passages. Once the parts with no
audio have been identified, these are "cut to zero", or
rather erased so that any imperceptible background noise
on each track does not sum together to produce hiss or hum
which can influence the overall sound quality.
Having completed this procedure, all the compositions are
ready to be "sequenced" in the same order they will appear
on the CD.
From this point onwards our multitrack recorder will only
serve to play back the sequence of compositions, but with
the added advantage that a synchronisation signal will be
produced alongside the music which the mixer can "clock"
onto. The final mixing and balancing stages, like the 3D
and Dolby processing, are controlled using the digital mixer,
an amazing modern invention that allows operations to be
carried out that were previously impossible, while guaranteeing
extremely high sound quality levels.
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The
mixing desk has 40 input channels and all the internal
processing is 32 bit which ensures a dynamic range
of over 190 dB!
All the faders (the knobs used to control the parameters)
are motorised and can be programmed to carry out any
type of task. |
A large liquid crystal display glows in the centre of the
mixer allowing all parameters set to be visualised and offering
the operators complete control over the complicated system.
Thanks to this type of set up, each parameter and each section
of the mixer can be programmed and recalled to repeat the
same operations over and over again, or to make adjustments
to the mix so far established without having to start from
scratch every time a parameter is changed... |
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