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SAE Magazine

ch, you may find numer- libraries offering sample- struments. Unfortunately, eet the high audio quality ry expects. The Pressur- le primary goal: Sample a quality audio. The project r website and the making but still important goals. organ and the church’s w much the instrument’s world-class organists, we rch a part of the samples. g our sample library don’t f, but the true, legendary We positioned the main microphones, an ORTF stereo setup with a pair of Schoeps CCM4 (A) in the main nave of the basilica, in order to include the basilica’s superb reverberation. Close miking was accomplished using a stereo pair of Neumann KM 184 (B). A pair of TLM 103 large diaphragm microphones served as an AB stereo setup (C). An additional ambient miking was set up using an Oc- tava MC 012 stereo pair (D) and a mono, omnidi- rectional DBX RTA-M microphone (E). The control room was set up with a Pro Tools HD TDM System; including two eight channel Saffire Pro microphone preamps. We recorded the samples using 24 bit 96kHz encoding to ensure proper processing steps in post-production. “Expect the unexpected: Noisy airflow!” Expect the unexpected: Noisy airflow! Things you don’t hear during a location visit are the noise pro- duced by the airflow powering the organ tubes. The first step during the post-production process was de-noising the samples. After a long research and test period, we decided to use iZotope’s RX 2 de- noising software. It seemed to be the only software that did not completely ruin the overwhelming de- cay of the basilica’s reverb tail and still allowed an appropriate workflow. ➤ INDEX orn rophone Positions: choeps CCM4, eumann KM184, eumann TLM 103, Oktava MC-012, BX RTA-M Drawing:PierreDegardin

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