Classical Recording & Editing

Tonmeister

An experienced Tonmeister will successfully lead you through the whole production process: from advising you in the preparation phase until

supplying you with the final production master.

 

Preparation phase:

He will first inquire if you already have a recording venue in mind and may suggest a visit to verify the suitability of the place

• He will find out the size of the orchestra/ensemble in order to assess whether the location is appropriate and which microphone technique to use

• He will ask for the repertoire, the purpose of the recording and the knowledge and experience of the musicians in order to estimate the required recording period

• In short, the Tonmeister is attempting to determine the right picture of the requirements in order to let the recording be a positive experience for everyone involved

 

Recording phase:

• After the Tonmeister selected the appropriate recording technique, he will perform the balance while you will warm up rehearsing the material

• As a trained musician with highly attuned hearing, he will guide you during the recording sessions, with the proper editing options in mind, so there will be no

   problems during the subsequent score editing

• He will be your “ears on the other side” and critically lead the session with his fine score-reading ability, informing you when a take is fine and when it needs to be

   recorded again

• In a relaxed atmosphere, he will give you the time you need, as much as necessary to reach the best possible musical results

 

Editing phase:

• Professional music editing is not only compiling independent pieces or eliminating errors and noise.

• The Tonmeister will put together separate parts of takes, as you do with a puzzle, in order to recreate the optimal musical result

• Depending on the experience of the musicians, the editing may include tens or even hundreds of cuts

 

Mastering phase:

• In this final stage, the overall sound will be balanced and improved, possibly high-quality reverberation could be added

   to enhance the listening experience to an ideal live sound

• The pieces and movements will be fit together with the right spacing

PQ (CD starting cues) will be performed up to a valid and final DDP Master (best quality master on the market) for the

   CD duplication plant, as well as reference CDRs for you

   The end result is a master that showcases your musical performance in the best possible way

 

 

RECORDING SESSIONS

The “classical” way of recording, used for most commercial and privately released CDs.

 

Preparation phase:

• Recording venue choice

• Size of the orchestra/ensemble

• Program length

• Purpose of the recording

• Knowledge and experience of the musicians

 

Recording phase:

• Already during the balance the Tonmeister will start winning your trust and confidence, allowing you the freedom to concentrate on the performance

• He will guide you during the recording sessions, with the proper editing options in mind, so there will be no difficulties during the subsequent score editing

• He will be your “ears on the other side” and critically lead the session, informing you when a take is fine and when it needs to be recorded again

• In a relaxed atmosphere, he will give you the time you need, as much as necessary to reach the best possible musical results, even exceeding your expectations

• Usually, standard sessions take around 3 hours with a short break in the middle and 2 sessions per day, but we are very flexible

• You should achieve about 20 minutes of finished music in one session (3 hours) if the repertoire is well rehearsed and should

   be reduced to 12 to 15 minutes finished music per  session if you expect to rehearse-record or anticipate tuning difficulties

• A full 70 minute CD will require a minimum of two days recording, sometimes even three days, see RATES

 

 

SUBSEQUENT SCORE EDITING

As a trained musician, the Tonmeister will be able to put together separate

fragments of takes, according to his editing plan marked in the score,

in order to recreate the optimal musical result

 

Preparation phase:

• During the recording of the recording sessions, the Tonmeister will mark his

   observations on the score and will draft the first editing plan

 

Editing phase:

• The Tonmeister will first listen to the chosen takes from the first editing plan made during recording and if not fully satisfied he will listen and chose other takes

• The Tonmeister will perform the editing using his highly attuned hearing, well accustomed to spotting poor edits, a fine score-reading ability, and a good dose of

   musical sensitivity

• In today’s digital world, non-destructive editing is accomplished on hard disks, providing endless editing possibilities of the recorded material, though not creating

   notes that were never played, or changing ones that were into ones that weren’t!

• Depending on the experience of the musicians, the editing may include tens or even hundreds of cuts

• Additional mastering (sound processing, adding reverberation, cleaning, etc.) can be performed before wrapping up the master, see RATES

 

 


Live Concerts

Capturing the excitement of a live event, maintaining the highest sound quality possible

 

Preparation phase:

• Artists, promoters and venues must be informed in advance that the concert is to be recorded

• If we aren’t familiar with the venue, we will visit it at no cost to you

• We aim to capture faithfully your live performances

• Where possible the microphones will be visually discrete

 

Recording phase:

• Real-time recording during the concert

 

Additional Editing per hour, see RATES:

• The editing/mastering engineer will first perform basic editing

   to remove unwanted gaps, he can make sensitive decisions

   regarding track fades and spacing times, also possibly offer

   some creative input for the most effective running order

 

Additional Mastering per hour, see RATES:

• Sound processing: matching the volume/loudness of different pieces whilst keeping a sense of proportion, subtly altering the timbre of recordings so that they

better fit together, adding/matching reverberation to provide the same listening sensation, gap lengths varying to suit the relative keys or tempi of the musical items

 

 

 

 

DEMONSTRATION CD RECORDING

The “business” card of every musician, for self-promotion, entry to a competition,

getting representation by an agent or booking concerts

 

All inclusive Demo Package, see RATES:

• 3 hours recording

• 3 hours editing, sequencing, spacing,

• PQ coding, ISRC code, UPC/EAN Barcode

• Sound processing up to 2 hours

• DDP Master and 1 reference CDR

 

 


COMPILATIONS

 

Putting together several recorded classical items, or Pop/Rock/R&B/etc. songs

 

• All inclusive Package, see RATES:

• Cleaning, sequencing, spacing

• PQ coding, ISRC code, UPC/EAN Barcode

• Sound processing up to 2 hours

• DDP Master and 1 reference CDR

With Zubin Mehta during the recording of the Liszt Hungarian Rhapsodies

Editing Carmel Quartett

Recording a concert of Myrna Herzog and the Phoenix Ensemble

All inclusive Live Concert Package, see RATES:

Live concert recording, Editing, sequencing, spacing up to 3 hours

PQ coding, ISRC code, UPC/EAN Barcode

Sound processing up to 2 hours

DDP Master and 1 reference CDR

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+972 54-544-2800

+972  77-750-3363