In the project Freischütz Digital, three numbers (No. 06, 08, 09) of the opera "Der Freischütz" from Carl Maria von Weber have been recorded by the Erich-Thienhaus-Institute (HfM Detmold). The recording was carried out by the Tonmeister students Stefan Antonin (No. 6), Florian Bitzer (No. 8), and Matthias Kieslich (No. 9) under the supervision of Prof. Dipl-Tonm. Bernhard Güttler, and Prof. Dipl-Tonm. Michael Sandner. Further information on the recording sessions and audio production can be found on the Freischütz Digital website:
This website provides the outcome of this recording project. For each of the recorded numbers (No. 6, 8, 9), we provide:
All WAV files are sampled at 48 kHz/24 bit. Note that these cannot be played back in every browser (e.g. Firefox)
Microphone setup: The following image shows the setup of the 25 microphones used in the recordings, involving two main microphones for recording a stereo image and at least one spot microphone for each instrument section. For each string section, a spot microphone at the front (Nf) and at the rear (Nr) position was used. Additionally, clip microphones (C) were used for principal musicians of the string sections.
The first violin section, for example, was recorded with three microphones: one at the front position, one at the rear position, and a clip microphone attached to the principal musician's instrument. Usually, a voice is captured by its spot microphones before it arrives at the main microphones which are positioned further away. Therefore, it is important to compensate for different runtimes by delaying the spot microphones such that their signals are synchronized to the main microphones. This avoids unwanted reverberation or artifacts (caused by phase interference) in the mixing process. Furthermore, individual equalizers are applied to each of the microphones to suppress frequencies that are outside of the range of their associated voice. Note that in a typical professional setup, the recording room is equipped with sound absorbing materials and acoustic shields to isolate all the voices as much as possible. However, especially for orchestra music, complete acoustic isolation between the voices is often not possible. In practice, each microphone not only records sound from its dedicated voice, but also from all others in the room. This results in recordings that do not feature isolated signals, but rather mixtures of a predominant voice with all others being audible through what is referred to as interference, bleeding, crosstalk, or leakage. The recordings presented on this website all have interference between the different microphones.
An artistic stereo mixture including all voices and microphones was produced. This is the kind of mixture one usually finds on professionally produced CD recordings.
Here you find the mono bounces (raw recordings). These are the signals as they were recorded by the microphones without further processing. Entries in the table marked with a dash '-' specify that an instrument/voice is not present in the number. If the microphone string (Mic String) is followed by a dash, then the first character specifies the type of microphone (N: cardioid, S:super-cardioid, O: omnidirectional, C: clip microphone). An optional second character specifies the microphone position (f: front, r: rear). All tracks have been recorded with cardioid microphones (N) except:
|Mic No.||Mic String||Description||No. 6||No. 8||No. 9|
|01||aa-O||Main microphone 1||wav||wav||wav|
|02||bb-O||Main microphone 2||wav||wav||wav|
|03||vn1-Nf||Violin 1 (front)||wav||wav||wav|
|04||vn1-Nr||Violin 1 (rear)||wav||wav||wav|
|05||vn1-C||Violin 1 (clip)||wav||wav||wav|
|12||vn2-Nf||Violin 2 (front)||wav||wav||wav|
|13||vn2-Nr||Violin 2 (rear)||wav||wav||wav|
|14||vn2-C||Violin 2 (clip)||wav||wav||wav|
|23||s1-S||Singer 1 (Ännchen)||wav||-||wav|
|24||s2-S||Singer 2 (Max)||-||-||wav|
|25||s3-S||Singer 3 (Agathe)||wav||wav||wav|
Here you find the delayed and equalized mono bounces. The raw mono bounces were delayed with respect to the main microphones (AA,BB). Futhermore, individual equalizers (EQs) have been applied to the signals. These tracks have been used in the final mixing process. Entries in the table marked with a dash '-' specify that an instrument/voice is not present in the number.
|Mic No.||Mic String||Description||Delay||No. 6||No. 8||No. 9|
|01||aa-O||Main microphone 1||0||wav||wav||wav|
|02||bb-O||Main microphone 2||0||wav||wav||wav|
|03||vn1-Nf||Violin 1 (front)||268||wav||wav||wav|
|04||vn1-Nr||Violin 1 (rear)||473||wav||wav||wav|
|05||vn1-C||Violin 1 (clip)||0||wav||wav||wav|
|12||vn2-Nf||Violin 2 (front)||329||wav||wav||wav|
|13||vn2-Nr||Violin 2 (rear)||601||wav||wav||wav|
|14||vn2-C||Violin 2 (clip)||0||wav||wav||wav|
|23||s1-S||Singer 1 (Ännchen)||160||wav||-||wav|
|24||s2-S||Singer 2 (Max)||160||-||-||wav|
|25||s3-S||Singer 3 (Agathe)||160||wav||wav||wav|
For demonstration purposes, additional stereo mixtures were produced for each individual voice.
|Voice||Description||No. 6||No. 8||No. 9|
Additional group mixes were produced including the woodwinds (bassoon, fute, clarinet, oboe), the strings (violin 1, violin 2, viola, cello, double bass), and the singers.
|Description||No. 6||No. 8||No. 9|
|Woodwinds (bn, fl, cl, ob)||-||wav||wav|
|Singers (s1, s2, s3)||wav||wav||wav|
During the recordings, the volumes of the singing voice has been continuously adapted. To make this process clear, we provide the automation tracks for these tracks.
|Description||No. 6||No. 8||No. 9|
|Solo1 automation track||wav||-||wav|
|Solo2 automation track||-||-||wav|
|Solo3 automation track||wav||wav||wav|
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
This work has been supported by the BMBF project Freischütz Digital (Funding Code 01UG1239A to C). The International Audio Laboratories Erlangen (AudioLabs) is a joint institution of the Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU) and Fraunhofer IIS.
We would especially like to thank three groups of people, without whom this project could not have been realised: The Tonmeisters, who formed a wonderful team:
And so did the singers:
As well as the orchestra conducted by Karl-Heinz Bloemeke.