Freischütz Digital Multitrack Dataset

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BMBF
Funding Code 01UG1239A to C
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Introduction

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.

mic_setting

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.

Stereo Mixes

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.

No Filename
06 Weber_Freischuetz-06_Bloemeke2013.wav
08 Weber_Freischuetz-08_Bloemeke2013.wav
09 Weber_Freischuetz-09_Bloemeke2013.wav

Mono Bounces - RAW

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:

  • Microphone 23-25 (Singers): super-cardioid (S)
  • Microphone 15 (Bass): omnidirectional (O)
  • Microphone 05,08,11,14 (Strings): clip microphone (C)
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
06 vc-Nf Cello (front) wav wav wav
07 vc-Nr Cello (rear) wav wav wav
08 vc-C Cello (clip) wav wav wav
09 va-Nf Viola (front) wav wav wav
10 va-Nr Viola (rear) wav wav wav
11 va-C Viola (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
15 db-O Bass (omni) wav wav wav
16 db-S Bass wav wav wav
17 fl-N Flute wav wav wav
18 ob-N Oboe - wav -
19 cl-N Clarinet wav wav wav
20 bn-N Bassoon wav wav wav
21 hn-Nf Horn (front) wav wav wav
22 hn-Nr Horn (rear) 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

Mono Bounces - EQDEL

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
06 vc-Nf Cello (front) 403 wav wav wav
07 vc-Nr Cello (rear) 552 wav wav wav
08 vc-C Cello (clip) 0 wav wav wav
09 va-Nf Viola (front) 342 wav wav wav
10 va-Nr Viola (rear) 601 wav wav wav
11 va-C Viola (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
15 db-O Bass (omni) 832 wav wav wav
16 db-S Bass 861 wav wav wav
17 fl-N Flute 648 wav wav wav
18 ob-N Oboe 659 - wav -
19 cl-N Clarinet 790 wav wav wav
20 bn-N Bassoon 825 wav wav wav
21 hn-Nf Horn (front) 922 wav wav wav
22 hn-Nr Horn (rear) 953 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

Stereo Instrument Mixes

For demonstration purposes, additional stereo mixtures were produced for each individual voice.

Voice Description No. 6 No. 8 No. 9
bn Bassoon wav wav wav
fl Flute wav wav wav
db Bass wav wav wav
cl Clarinet wav wav wav
ob Oboe - wav -
s1 Solo1 wav - wav
s2 Solo2 - - wav
s3 Solo3 wav wav wav
va Viola wav wav wav
vc Cello wav wav wav
vn1 Violin 1 wav wav wav
vn2 Violin 2 wav wav wav

Stereo Group Mixes

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
Main Microphones wav wav wav
Horns wav wav wav
Woodwinds (bn, fl, cl, ob) - wav wav
Singers (s1, s2, s3) wav wav wav
Strings (vn1,vn2,va,vc,db) wav wav wav

Automation Tracks

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

License

license_CC-BY-NC-SA_88x31

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Acknowledgements

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.

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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:

  • Stefanie Krahnenfeld (Agathe)
  • Kirsten Labonte (Ännchen)
  • Tobias Haaks (Max)

As well as the orchestra conducted by Karl-Heinz Bloemeke.

Links