The purpose of the article is to characterize the principles of sound recording with microphones in the context of the acoustic spatial features of concert halls, which are an important component in positioning the activities and creative directions of "purism", "individualism" and "realism" in sound engineering. The methodology consists of the use of analytical, historical, and cultural methods, which made it possible to identify and characterize the technological foundations of sound recording using the example of sound engineers. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science the principles of microphone sound recording in the context of acoustic spatial features and creative directions of sound engineering "purism", "individualism" and "realism" were defined and characterized. Conclusions. In the work, the data on the spectral response of the frequency range, the stereophonic effect, musical and timbre balance, and the spatial impression of the acoustics of concert halls were determined. The principles of application of multi-microphone technique in instrumental, orchestral, and rock music are revealed; outlined the creative potential of the directions "purism", "individualism" and "realism". in sound engineering. In terms of current cinematic trends and contemporary popular music culture, we hear and become accustomed to exaggeratedly colorful and rich, often "electronic" sound. Since the listener is the ultimate link in the entire recording industry, it is necessary to recognize landmarks in sound engineering aimed at the tastes of the majority.
Principles of microphone sound recording in the context of the creative direction of sound recording
