To give an idea, 200 CDs plus digital copies of all songs in whatever format required, along with the recording, mixing and mastering of a collection like this comes to something between £350 and £500.
Meanwhile, Martin, Chris, Finn McArdle on percussion and Paul White on bass are in the middle of working on a follow-up 7 track EP as well, my mixing and mastering of which is coming along very well. You can find a preview of this next release here:
Over on YouTube there’s also a selection of videos from one of the recording sessions HERE.
With the addition of some impressively gifted percussion and bass parts, they have arrived at an exceptional and warm sound.
I collected my Oktava MK319 from the post office this morning. It’s in fantastic condition and has the original Russian booklet with its distinctive, bespoke frequency chart. Of course, it has been modified, so the spec will be different as a result, but there’s a deal of reassurance to be had from its authenticity.
I’ve got the mic capsules as close together as I can, hoping to stage this comparison on as an even a playing field as I can.
A little spoken word and perhaps a strum or two on a guitar and I’m hoping to be able to hear some pleasing characteristics, reviews and discussion of which have brought me to the Oktava purchase in the first place.
Don’t get me wrong: I love my Neumann TLM103. Perhaps though, this new (old, from 2006 as far as I can gather) arrival might take precendence.
Naturally, I shall only be pressing ‘Record’ after I’ve had another cup of tea.
One of my lino print creations, now installed and looking very content on a wall. This was a gift for my dad and I think he likes it. I find that more than half the battle of sketching or printing an idea is the tangled matter of subject. Of what content should something like this consist? Having settled on a picture I took during a walk in the woods roughly here, it was then a case of reducing some detail and picking out a favoured composition that I could feasibly cut into lino.
I’m pleased with some of the texture that hints at the consistency of bark on a fir tree.
I did imply that this post was to chat about something a little different from microphones, preamps, recording, or LPs I’ve bought and now that I’m nearing a conclusion, I feel slightly bereft. Thusly, here is a gratuitous shot of a microphone I have on the way from a very helpful bunch in central Germany: http://www.rauschenbergstudio.com/AudioConsulting/
I was watching over a panful of bubbling mince the other day, thinking about sound. It was characteristic, immediately redolent of a specific place and very distinctive, all of which can make for a good recording. It didn’t bring to mind water, rather it was thicker and more suggestive of the comfort that can be derived from a hot meal on a cold day.
The more I listened, the more I appreciated the detail.
I was contemplating field recording influences this morning. Yes, I know. Don’t say it.
In my defense, there was a trail on the radio about a forthcoming Steve Lamacq 6Music show broadcasting from the British Library. Continuing their excellent celebration of libraries, it will include a piece on the library’s Sound Archive and, while I’m typically not that bothered about Steve Lamacq’s show, rather preferring Marc Riley’s regular couple of hours just afterwards on a weekday, I shall make a point of listening.
Here are my musings, in letter, word, sentence and paragraph format. It really is an astonishingly good record, so here’s the link to buy it if you want:
Released in 2003, Weather Report is a 54-minute album by Chris Watson, the noted sound recordist, once more renowned for being one of the three members of experimental electronic music group Cabaret Voltaire. Chris Watson has been active and influential in broadcast and location sound engineering since the early 1980s and with Weather Report, we see a continuation of his profound interest in the natural world and the process of capturing the diverse and endlessly absorbing audio that surrounds us every day, that fills the planet on which we occupy a small part. From the start to the finish of the three tracks that constitute the whole experience, this is a superior example of the pleasure of just listening.
Track 1 is entitled ‘Ol-Olool-O’ and compresses a day in the Masai Mara, chronicling life and environment. As soon as it starts it feels colossal, the large mammalian growl giving way to layer upon layer of unfamiliar (at least to those who haven’t visited the area) birdsong, already producing an effect of landscape that can’t be controlled or measured or contained. Human existence passes to arthropodic, to avian, to meteorological, the pervasive background music of the climate remaining as an over-current the whole time, be that wind or rain or thunder.
‘The Lapaich’ is presented in the same fashion, edited together to allow the listener a full sonic depiction without having to be in the Scottish highlands. There are intricate blends of rushing water, rain, wind, birdsong, deer, gulls, corvid screeches. Likewise, in ‘Vatnajökull’, we hear birdsong that is exotic in its unfamiliarity with dominant seams of wind and water ambience, but the similarities between tracks 2 and 3 end there. ‘Vatnajökull’ is an entirely unique encounter with an Icelandic glacier and its surroundings. With its deep, reverberant creaking, cracking and organ-like, musical wailing, we are haunted by the unnatural sounding phenomenon, but only unnatural in the sense that it is something we could so rarely hear. Watson describes his activity as ‘putting microphones where you can’t put your ears’ and this is never more pronounced and immediately compelling than with the final 18 minutes of Weather Report.
Despite the presence of a very occasional effect to accent an opening scene, the album can be described as an expansive auditory play, written without the direct involvement of human editorial power, but presented as an overlay of sound upon sound. Watson presents nature in its vast dignity, each segment ‘teetering on the border between representation and abstraction’ (Schryer, 2001 in Rothenberg & Ulvaeus, 2001, p.125). There is a very powerful sense of the overriding respect and awe that Chris Watson clearly has for the natural environment in which he immerses himself.
Weather Report encompasses exquisite detail. It is cinematic, sprawling and intricate. It generously depicts the ‘great improvised complexity of the natural world, a concert [that is] endless and immense’ (Rothenberg & Ulvaeus, 2001, p.9) in order to remind us of what is around us, the nobility of the world that we can grasp if the focus on rapidity and modern self-absorption is removed, allowing us to ‘listen to music and hear a world in which the presence of man is contingent, even irrelevant.’ (Eisenberg, 2005, p.209). This is music of the outside, mysterious but wholly within reach if we pay attention for long enough.