Having freed myself from working with loudness oriented clients and with the design and setup of my studio complete, the results of two of my three decisions had been accomplished. What remained was to put the third decision into effect: it was time to make the first recording for what would be my new label.
This began with a search on which I would embark again many times in the future and expect to continue with as long as I make records. I needed to find a space with the right supporting acoustic for the music and instrumentation of the ensemble I was going to record. I wanted a fairly spacious locale as well, to allow room for the music and sound to “breathe” since the microphone array would capture this as an integral part of the whole.
Art Halperin had composed a lot of new material and taught it all to the members of his band, Work of Art. He told me he knew of a place that might work for the recording. It was an old 18th century church located deep in the woods of upstate New York and Art said we could get permission to record there. The idea of recording in an old church sounded very appealing to me and we made plans for the recording session. (Since the outside of the church above the stonework was painted green, and the locale reminded me of a well known recording that was also made in upstate New York, as an homage to that album, beloved by many, I came to refer to the project at hand as “Music from Large Green”.) The plan was for the band to go up on a particular Saturday, set up and rehearse. Art had a friend who lived nearby and who had a house that could accommodate the players for the weekend. I’d drive up the following day and we’d make a record.
One thing about October in the woods of upstate New York is that it can get pretty cold. The good news is the band remembered to bring a space heater along with all the other gear. The bad news, as I found out in a phone call late on Saturday, is that the church’s electrical system could not handle the combined load of the guitar amps, bass amp and space heater. The combination blew out the electrical power—not a good condition when the we needed AC power for the amplifiers as well as the recording gear.
Sometimes, the desire to get something done overpowers any apparent limitations. At least that was the hope to which I was clinging. I decided to drive up on Sunday anyway to see if there was anything we could do. (The full story of this project was told in Recording In Stereo (Part 2). In short, once I got there, I could find nothing visibly wrong. The fuses were all intact yet we had no power. It was looking like we’d have to postpone the session, an idea that depressed everyone as we’d all built up excitement about the idea and the band, even with the curtailed rehearsal time the day before, was ready to go.
The church really was deep in the woods. The nearest house was several hundred feet away and the next nearest considerably further. Art’s friend decided to go over to that first house and speak with the owners. We will forever be indebted to that family, who very graciously offered to let us use their electrical power. Our good fortune continued with the fact that one of the band members just happened to have a sufficient number of electrical extensions in his car to reach all the way from that house through the woods and into the church. Pretty soon, the sounds of electric guitars and electric bass as well as drums warming up filled the church. The microphone array was placed and when the connections were made, the level meters danced on the laptop screen.
To fine tune the placement of the microphones, I walked around the front of the church listening to the balance between the direct sound from the amplifiers and drums and the ambience of the church. I had my matched pair of Earthworks QTC-1 (aka QTC-40) microphones set up on a stereo bar that kept the mics about 16 inches (~41 cm) apart. Between them, I installed what Art called the “Diament disk”—actually my variation on the Jecklin disk. The microphone cables fed two channels on the Metric Halo MIO 2882 which served as mic preamps and A-D converters. The Firewire output from the 2882 fed my PowerBook hard drive.
Signals were converted to digital at 24-bits and a sampling rate of 96 kHz. This was the maximum resolution the 2882 could capture and would serve well as I intended to create not only 16-bit, 44.1k audio for CDs but also 24/96 high resolution audio that would exceed what the CD format can deliver. The Record Panel in the Metric Halo Console X software was used to capture the audio and store it in my preferred .aif format.
To quote from the article cited above, “We ended the session after about eight hours, anxious to get back to the listening room to hear the results of our efforts. The monitoring system revealed the concept had been proven. One can indeed record a rock band direct to stereo. The drums sounded BIG, filling the space with their power. The bass drum had that ‘in your chest’ feeling I’d long been seeking. The electric bass had a snap and precision of pitch I haven’t heard on a rock record before and the electric guitars, well, I’ve always heard it while in their presence but I’ve never heard the sound of an electric guitar and its amp this way on a record before. There was a ‘bite’ anyone familiar with the real sound knows well but in my experience has never before been preserved on a recording.”
Perhaps the biggest result of the session was that it provided yet another opportunity for me to learn, both what was right and what was not. Again from the article, “In the end however, this was after all a first shot at the concept as well as being the first time I’d recorded in this particular location. Next time in this room, I’d experiment with placing the mics just slightly closer to the plane described by the front of the drum set and the guitar and bass amps that flanked it. A bit more of the direct sound in such an ambient locale would probably provide even more or the visceral impact we found so enjoyable when listening to the playback. Also, in the absence of the Saturday rehearsal time, the music, though full of good feeling, ended up being less than we believe it could have been. This only left us inspired to do this again and plans are already under way to capture performances we’ll be proud to release on a distributed recording.”
We did return to the church two more times and both of those sessions produced the first release on my label. The results of my third decision had materialized and Soundkeeper Recordings was born. Next time, making Lift.