One hand clapping

Hi-fi has been defined as “the nearest approximation to the original sound”. I originally thought that this meant simply that a violin sounded like a violin and a drum sounded like a drum etc. I was equating the approximation to mean tonal accuracy. Under the influence of the Naim philosophy I then learnt about the importance of timing.

I have started to challenge some of these ideas again as I spent the last week being technical advisor for the Duo Jackson’s upcoming CD.

Being in on the recording has reminded me of how artificial the whole thing is from beginning to end, and how difficult is our search for the Holy Grail.

The Jackson’s work from a large home studio that also functions as their lounge. There is double insulation on the windows and the walls are thick enough to stop a tank. The home itself is nestled in the hills a few miles from Nelson, so we are talking a very quiet setting.

In spite of the setting, working from home includes practical problems such as keeping out the flies, sending the daughter to stay with friends, switching off the phone and being careful when you flush the toilet.

A lounge does not have the same acoustic as a studio and can in fact add an attractive ambiance. This ambiance however can become a real challenge to capture in an attractive way that enhances the recording rather than swallowing it.

Tens of hours went into microphone alignment, where to put the musician in the room, which type of microphone to use, how many microphones and at what distance. Next came decisions about recording levels, the amount and type of reverberation, and finally panning. Only after all of this could we then decide if we preferred the sound of the more open, lively Sony DAT tape or the cleaner fuller TDK tape.

We were now ready to record when the pieces were well rehearsed, the temperature and power supplies were optimized and the moon was in alignment with Uranus.

On our most stressful day we managed over a 13 hour period to record 3 minutes 45 seconds. Over an intensive six -day period we recorded approximately 30 minutes of material. Even with this much preparation we were often breaking the track up into as many as 6 parts to mix and match the best bits.

In fairness to the team, not only were we adjusting to a new percussionist, but the process was more complicated simply because of how we were making the recording. It would have been easier to have recorded the instruments separately in a conventional studio and then mixed the tracks together.

Difficult though it was to capture, we wanted the vibrancy of a live recording, with plenty of natural ambiance and the timing that comes from recording musicians simultaneously. The result, though I say so in all modesty, is fantastic.

The stress of recording this way was high, with little sleep, the necessary after-hours medication, and a few tantrums. At the end of the day it was challenging, fun and a sharp learning curve.

Would I do it again? Well if there are musicians out there would like some help, then write to me via the link below. Advice is offered free for the first correct answer to the question…What is the sound of one hand clapping?

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