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The history section of this Web site gives some perspective on my life as a sound recording engineer. I've been seriously dedicated to the art and function of this profession for years now. The discography found elsewhere on this site says a lot more about where I've been, how it sounds, and where I'm going than this little discussion could hope to accomplish. However, there are a few points I can make that will put some perspective on what I might bring to your project. One of the first questions I ask at the very beginning of a recording project relates to listener perception. Would you like your music to sound life-size or larger than life? It's an important consideration because it will influence many musical and technical decisions from rehearsals through the mastering stage. 'Life-size' is best described as hearing your music in a studio-transparent way; the tone and character of each instrument is true to the original performance without a lot of additional processing in the mix. Acoustic groups in jazz, folk, bluegrass, and classical ensembles typically look for this sort of presentation because it's about the group interaction and personal qualities of their instruments. The 'larger than life' approach got its start with pop music at the start of the multitrack era. Using the studio's sonic assets to create a big, highly evocative atmosphere for each song is now the trail that many want to take. It requires planning and intuition and can lead to some very popular music. The artist, producer, and engineer need to work closely together because during spontaneous moments of music-making we all need to know where the sound of this project is going. There are many permutations of these two formulas because they are so radically different in execution. However, it's typical that a balance is found that draws from both. What I avoid is the 'smaller than life' recordings that got strangled by everything from poor performances to too much compression. Everyone has an opinion about the great analog/digital debate. Mine is that I jumped to multitracking on Pro Tools systems within six months of their introduction -- around 1994, I think. Years working with analog decks have not made me nostalgic for their sound or their maintenance. Recording to analog multitrack decks is now an esoteric art, which means that it is reserved for those who wish to pay top dollar to get the perceived benefits. I've done hundreds of acoustic music tracking sessions on numerous versions of Pro Tools software with various A-to-D converters, and the general level of satisfaction from the artists is very high. You have to understand the gear you're working with. Considering that most of the projects I get involved with are skirting the edges of popular music (meaning no budget), I really had to dive into digital and make it work because right from the start it was less expensive to track and mix in the digital medium. While there might be a very good reason to mix down to a 2-track analog deck, I would venture that a well thought-out signal path to basic tracks should eliminate the need. Which brings us to tube technology. Outboard gear is a big deal. Tube-based mics and mic preamps are extra special and quite central to creating a lovely recording. I've spent a lot of time listening to combinations of mics and pre's and apply that knowledge liberally to every tracking or live to 2-track session. The latest versions of tube gear are beautiful to hear, easy to maintain, and sort of expensive. Another critical consideration for getting a definitive sound is the use of ribbon mics - oh, but don't get me started on microphones. I'm a total freak for the mics. Every model does something well, so please give me two of each. I'm a big advocate of live to 2-track recording. What is that? Essentially, it means that I'm doing the final mix at the same time that the music is being made. If a project doesn't require overdubs, it is possible to make a recording in the most natural way possible. Jazz, small classical ensembles, and bluegrass are genres that can easily take advantage of live to 2-track recording. Sonically, the results can be truly gorgeous with great clarity and a unified sound that can't be had with multitracking. It's also much less expensive in the long run. The downside is that the mix has to be right because there is no going back into the mix to raise the vocalist another couple db. I currently use the Manley Labs 16 X 2 mic mixer for this work. It has a tube mix buss that is truly remarkable. A short, simple signal path from the right mic to a good analog-to-digital converter is what I shoot for. All of this is prime material for discussion. If you think I might be useful to your project, contact me and we can figure it out. I don't get involved in every project that comes down the pike, which means that if we work together it's because I'm pretty sure I can be useful to getting it done right.
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