All recorded music has elements of live performance – at the very least a vocal with an in- the-box production of beats and textures or a rhythm section in the live room, all the way up to a fully live on-stage concert.
Magic Garden Mastering’s Brian Lucey is a go-to mastering engineer for enhancing and furthering the live human elements of a recording, bringing a wide skill set, eclectic musical tastes and deep sensitivity to every project.
Specialising in sample library recording and the development of virtual instruments, Vienna Symphonic Library has opened the main rooms in a new large-scale, high-end scoring stage and studio complex, Synchron Stage Vienna.
Two SSL Duality δelta analogue consoles, an L500 Live console, and a high-capacity Dante Network via SSL Alpha-Link MX converters and SSL Network I/O products, form the technical backbone of the studio.
‘I arranged for a crew from another country to go to the Paris studio at five in the evening. They went in and took the console to bits, took the outboard out, wrapped it all up, and were gone by four the following morning. They arrived here in London the next day… installed the console in two days and had it all up and running a week later.’
Seriously? You kidnapped a whole recording studio?
Designed with the joint aims of recruiting talent into programming/game design and establishing museum of games technology, the UK National Videogame Arcade (NVA) is a unique educational and entertainment resource.
Central to the project is a highly versatile, yet simple to use, technical infrastructure. To provide it, system designer/installer Rob Harris used a selection of Yamaha’s Commercial Installation Solutions systems.
One of the big film events of 2013, Gravity is a genuinely exciting event in cinema viewing, and possibly even more so in cinema craft – from cinematography, to visual effects, to sound...
Starring Sandra Bullock and George Clooney, and directed by Alfonso Cuarón, the film tells the story of a disastrous space shuttle mission to service the Hubble telescope that leaves Stone and Kowalsky stranded in space.
Featuring performances from Imogen Heap and the Junge Deutsche Philharmonie orchestra conducted by Jonathan Stockhammer, Sennheiser recently presented an ‘extraordinary’ concert at London’s Central Hall Westminster.
Kicking off Sennheiser’s Reshaping Excellence campaign – and marking Sennheiser’s 70-year history – it set oput to demonstrate the potential of 3D immersive audio.
Created to provide ‘a very private and discreet’ studio for Michael Lattanzi’s writing, engineering, production and mixing, Lattitude Studio South’s word-of-mouth reputation has brought outside users to its location in Leiper’s Fork, Tennessee.
Designed by Lattanzi himself, the facility is extremely well equipped, being centred on mixing consoles from Neve, SSL and API, and makes extensive use of Auralex Acoustics sound treatments.
Sound designer Mike Bedford from Hoare Lea called on Out Board’s TiMax SoundHub and Meyer Sound loudspeakers to provide immersive live audio playback and 3D spatialisation in the UK Pavilion at the 2015 Milan World Expo.
With the expo focused on sustainability, technology and food – themed Feeding the Planet, Energy for Life – the UK pavilion resembles a giant beehive in a wildflower meadow, designed by artist Wolfgang Buttress and engineer Tristan Simmonds.
Your last recording session may have used virtual mics and outboard. The guitar amps, as well as mic positioning, may have been similarly virtual. Alternatively, you may have been placing real mics around a live band before settling down in the control room. Something a bit more ‘real’.
Very real and very fundamental, Duncan Miller’s most recent sessions returned him to a time when there were no microphones…
Called the Infinite Cave because of its size, Son Doong is among the world’s biggest caves. Recently, photo journalist Martin Edström led a team that photographed it and recorded the sounds occurring inside it.
‘Sound wide, there was always something to be heard – wind, water dripping, a river running, distant birds and sometimes also the thundering silence, if you know what I mean.’
Claiming to be the first orchestra to ‘go fully digital’, the Lille National Orchestra (ONL) is using a digital signal chain from sound pick-up to recording.
The orchestra’s own mobile studio comprises a total of 33 digital Neumann microphones, 24 digital Sennheiser microphones (all on active stands and booms), and six DMI-8 interfaces. Also included in the studio are a six-channel Sennheiser wireless system and a full Neumann monitoring set-up.
