Main Article Content
Kendang Jawa is a traditional Javanese musical instrument which is used in a Javanese gamelan ensemble, often played for traditional events. Kendang Jawa has three separate parts dependant on its size, namely bem (largest), batangan (medium) and ketipung (small). Through advances in recording technology, the development and preservation of Nusantara's musical arts can continue to be encouraged. The quality of the recording is predominantly determined by the placement of the microphone in use. The lack of studies on the importance of microphone layouts and distancing in kendang Jawa recording is a problem that requires attention. The purpose of this study is to evaluate the participants' subjective assessment of stereo recording techniques on kendang Jawa. Qualitative methods were used to analyze the preferences of expert and non-expert participants. Recording of 16 audio samples were performed using four stereo recording techniques, namely XY 90º, AB, ORTF and Mid-Side with four variable distances at Studio Lokananta, Surakarta. The recording sample was tested subjectively on 40 participants. This study reveals that the preference of expert and non-expert participants is the XY 90º technique. As many as 73% of expert participants enjoyed the recording of kendang Jawa through the XY 90º technique at a distance of 1 meter. High sound clarity and balanced stereo images are several crucial factors in this technique. The result of this study contributes to the understanding that the aspect of the impression of space and time of low reverberation is one of the essential criteria in determining the sound quality of kendang Jawa recordings.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
- Copyright on any open access article in a journal published by Mudra Jurnal Seni Budaya is retained by the author(s).
The Creative Commons Attribution License 4.0 formalizes these and other terms and conditions of publishing articles.
Izhaki, R. (2012). Mixing audio: Concepts, practices and tools (2. ed). Elsevier, Focal Press.Mid/Side (MS) Mic Recording Basics | Universal Audio. (n.d.). Retrieved September 24, 2021, from https://www.uaudio.com/blog/mid-side-mic-recording/
Moylan, William. (2007). Understanding and crafting the mix: The art of recording (2.ed). Elsevier/Focal Press; /z-wcorg/.
Romblom, D., King, R., & Guastavino, C. (2013). A Perceptual Evaluation of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio. Audio Engineering Society Convention 135. http://www.aes.org/e-lib/browse.cfm?conv=135&papernum=9004
Sebastian, N., & Simanjuntak, J.A.,(2020). Study of Preference for Stereo Recording Techniques of a Pelog-based of Gamelan Gender, Bonang, and Peking Ensemble. Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), 540–546.
Setyawan, D., Arief, A., & Almasjid, A. (2017). Analisis Instrumen Kendang Dalam Karawitan Jawa Ditinjau Dari Nilai Luhur Tamansiswa. Jurnal JPSD Prodi PGSD UAD.
Simanjuntak, J.A., & Hansen, A. (2021). Study of Preference of Stereo Recording Techniques on Kendang Instruments in Jazz Ensambles. Proceedings of the 2nd International Conference on Interdisciplinary Arts & Humanities (ICONARTIES) 2020. http://dx.doi.org/10.2139/ssrn.3800572
Susanto, C. (2020). Analisis Preferensi Responden Terhadap Teknik Perekaman Stereo Pada Angklung Toel. S1 Thesis. Universitas Pelita Harapan.
The Ultimate Guide: Stereo Recording Techniques & Setup. (n.d.). DPA. Retrieved September 24, 2021, from https://www.dpamicrophones.com/mic-university/stereo-recording-techniques-and-setups