Almost eight years after we recorded the first release for my Soundkeeper Recordings label (documented in the December 13, 2013 entry in this blog, like the album, entitled Lift), I was once again joined by Art Halperin and his band, Work of Art, for a new project.
For a long time, Art and I had discussed a follow-up to Lift and now the time was right. Art had written a great new collection of songs, which the band had been rehearsing. I had recently made some new additions to the recording setup in terms of upgraded power and microphone cabling (see the previous entry in this blog, entitled New Connections). And I found just the right recording locale for the project.
Instrumentation for the songs includes a wide collection of different guitars including both nylon-string acoustic guitars and Martin steel-string acoustic guitars, a Dobro type resonator guitar, a Guild 12-string guitar and a few electric guitars, one of which is the Fender Stratocaster given to Art by Eric Clapton. Along with the guitars, a mandolin, pedal steel guitar, and ukuleles are also present on the recording, while double bass and drums accompany the voices throughout. The rich vocal harmonies are a big part of these songs, some featuring up to four voices behind Art’s lead vocals.
For those interested in the recording setup, the equipment for these sessions was as follows:
Microphones: Earthworks QTC-1 (aka QTC-40, matched pair)
Mic cables: Nordost Tyr 2
Interface: Metric Halo ULN-8 (serving as microphone preamps and analog-to-digital converters)
Laptop: Apple MacBook Pro
Software: Metric Halo Console X (Record Panel)
Power cables: Nordost Heimdall 2 (for interface) and Nordost Purple Flare (for laptop)
Power conditioner: Monster Cable HTS-400
Vibration isolation: Custom made base to support laptop and interface
Winds of Change was recorded at 24/192 (24-bit resolution and a sample rate of 192 kHz).
One of the many nice things about this project was that the players, having already done one Soundkeeper Recording in Lift, were already familiar with the process and the fact that they would be together, hearing each other through the air, for real, as opposed to being separated by headphones and baffles and listening to an electronic mix via headphones. Everyone knew they had to pay close attention to each other and to how their own sound blended with the whole. They all knew we were capturing performances, without the ability to “punch in” later to fix any mistakes.
I selected a local 19th century church as the recording venue. It is a stone structure with a wooden interior and a warm acoustic, providing a good sense of air around the players but maintaining a nice sense of intimacy, ideally suited to this music.
My expectation was that the stone construction of the church would result in a relatively cool interior, even for our late June recording sessions. The good news is that we all had a great time, even though my thermal assumptions were off by a good measure. In short, the music wasn’t the only thing that was warm. Several large ceiling fans keep the air in the church circulating but these had to be turned off during recording, as the mics very clearly picked up the quiet hum they produced. Next time at this locale, spring or fall would make optimal seasonal choices for the best indoor climate, free of the sounds heating or cooling systems would necessarily add.
We recorded in the church on two successive days and all the hard work Art and the band put in preparing for the sessions was clearly in evidence. I have commented before on just how great the feel is in Art’s music. It pleased me to no end to find that others noticed exactly the same thing upon hearing the early playbacks. What surprised me at first, but upon reflection turns out to be no surprise at all, is how all the comments used the same word. When my wife (and most trusted listening partner) first heard the playbacks, she said “This is such a joyful album!” Others have used the very same adjective, including two of the players in subsequent independent communication with me about the sessions. The word came up so frequently that one of my early candidates for the album’s title was “Joyful”.
The music and performances are certainly full of joy. As it turned out, so were Art and yours truly as we listened to the impact the new cable additions brought to the results. I mentioned in the previous entry in this blog that this project marked my first use of Nordost’s Tyr 2 cables to connect my microphones to the ULN-8’s mic preamps, as well as my first use of third-party power cables, in this case Nordost’s Heimdall 2 feeding the ULN-8 power supply and their Purple Flare feeding the laptop power supply. As I said in that entry, both Art and I remarked that we’d never heard recorded acoustic guitars sound so much like the instruments themselves. The speed and extension on the double bass too, matched the sound of the instrument at the sessions like we’d never heard before. (Thank you Nordost, for taking my recordings to a whole new level!) While I’d have been pleased with “Joyful” as the title, in the end we decided on an equally fitting one we like even more: Winds of Change.
As has become the norm for Soundkeeper, we will release it in multiple formats, from 24/192 (.aif or .wav) files-on-disk, to 24/96 (.aif or .wav) files-on-disk, to 24/96 audio-only DVD (in DVD-V format), to CD-R, to pressed CD.
One other thing we decided to do for this project was document some of it on video, to share with Work of Art (and Soundkeeper) fans, some of the “behind the scenes” views of the recording sessions. The videos will be completed once the audio mastering is complete and the album art is done. There is still some work ahead of us before the album can be released.
Making a record is most definitely much harder work than most folks might realize, but making Soundkeeper Recordings has been, and continues to be, a delight. How fortunate I am to know Art and his band, and to be able to produce and engineer this album. For someone who loves making records, it doesn’t get better than this.