REQUIREMENTS OF RECORDING DIRECTION IN THE DIGITAL MULTICHANNEL RECORDING PROCESS

Recording direction became during 20-century full-fledgede artistic profession. It has developed next to the recording technology from the first hints alongside the phonofraph up to indespensable part of the digital multichannel recording process. Its story has filled the lives of many significant personalities, especially composers, conductors, musicologists. Theirs artificial credit corresponds the difficulty, ensuing the principle of the sound record – mirror of the musical composition and its unique interpretation. The interest to research the spirit of recording direction has emerged from vagues opinions about function of the recording direciton and the sound engineer. Where are theirs mutual boundaries. The listening of a record doesn’t show the influence of the recording direction during its creation. It is possible to co mpare to day knowledge of recording direction posture with the memoirs important personalities artificial world and recording industy. Historical sources and literature are next to the historial recordings only sources of information. The mapping of all the activities of the recording direction and detailed classification rice a division, innternally strongly linked with phases of recording process and types of recordings. They are parallel actions with high pretention of concentration. Umbrella – feature of recording direction is psychology of the communication with the interpreters and the members of recording crew. The recording direction is a part of the recording proces even out of big procuctions of complicated projects. Recorded music needs the supervision and to be assessed from the point of view of the sound quality and musical content of the interpretation, which are stored in the record unchangeable. Recording direction is latently present in every recording project, albeit done by some other vicarious person