The length of time between the two would be determined by how fast you press the key, similar to a real console. And assuming the instrument has a high trigger point, that sound has to be triggered from the high sensor, which means it cant be velocity-sensitive, right? If Im recalling correctly, I think there was some attempt to incorporate velocity into the response of the click, but that required the keyboard to use the lower trigger point, which most players didnt like.īut what if you could have it both ways? It seems like it should be possible to have the basic organ tone and some sort of initial key click sound triggered by the high sensor, and then have a secondary click sound triggered a fraction of a second later by the second sensor. If you can e-mail us an example, we would love to hear it and perhaps publish it on the site - address down in the footer.This just occurred to me: the thing thats so tricky about imitating key click is that it isnt a single click, but the very-fast-but-not-instantaneous sequence of nine separate contacts closing, right? Aside from the triple-sensor contact in the XK5, other clones just use a static sound. What non-musical sounds do you like? And what drives you crazy? We would like to hear about your experiences with the 'texture' of acoustic instruments. But texture can be a large part of the 'soul' of a recording and something to be welcomed, in reasonable quantities. This can come as a surprise if you have learnt recording on synthesized and sampled instruments. There is however another solution that trumps all the rest, and that is to accept these noises as part of the texture of the instrument.Īll acoustic instruments have texture and this is something that gives an instrument its character. Moving the mic will change the sound quality, perhaps not for the better. You can also experiment moving the microphone around the instrument to the side that has fewer mechanical parts.ġ. So if you move the microphone closer to the mouthpiece or reed, or to the opening at the end, you will increase the amount of musical sound slightly and decrease the level of the clicks. This last source changes from note to note, and you will hear this clearly if you listen from close range. Woodwind instruments produce sound from three places - the mouthpiece or reed, the opening at the end (the bell in the clarinet and oboe), and from any holes in the instrument that are not covered. One thing you can do successfully is move the microphone towards the source of musical sound and away from the mechanism causing the clicks. This will probably produce no noticeable benefit and the performance will suffer because the player is now distracted. You could try asking the player not to click so much. This might not be practical and you have to deal with the instrument as it is. They hear the key clicks every time they practice and cease to notice them. Players tend not to notice the gradual degradation in performance of an instrument between services. The first thing to do is have the instrument serviced. If you must have that sound, what can you do about the key clicks? You would almost never become aware of it in an orchestral concert.īut the close mic sound is very attractive. Would it be ten meters away or more if the instrument were in an orchestra? Would it be two or three meters if you were sitting in the front row in a small recital? Would it be a couple of centimeters from the instrument if you wanted to get the same experience as a close mic?įor some reason that acoustic science finds it difficult to explain, key click noise seems to disappear with distance. The first thing you can do as a recording engineer is consider where the normal listening position for a woodwind instrument would be. Inevitably this causes a mechanical noise that is easily picked up by sensitive microphones. In modern instruments, all or nearly all notes are produced using keys, rather than stopping the holes directly with the fingers. That however was more than a hundred years before the invention of recording so there was no-one around to appreciate the benefit.īut wily inventors added first one key, then another, all in the interests of player convenience and extending the range of the instrument. Originally these instruments had no keys, and therefore no key click noise. The sender was enquiring whether the amount of key click noise was too much. We received a recording of solo flute at Audio Masterclass Towers recently. Learn how to become a better producer in your own home recording studio >
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