Alison has her drum set setup in her basement room. He has some acoustic treatment in his room, but the bass is not as loud as the saxophone or drums, so his recording was the most difficult. Jane lives in a quiet apartment building. It is fascinating how we were able to shut out that room and replace it with the big sound stage of Skywalker.
But at Skywalker we spread the microphones fully and had wonderful results. That could have created some unwanted effects. It is a very small room equipped with several microphones. Ulrike: We put jackets on the sofa! I am really amazed at Jane’s office. The costs for booking a fixed internet rate were too much so we had to be more adventurous.Īllison Miller in her basement practice studio, photo by Ulrike Schwarz.Įditor: How did you manage the acoustics? Did you make any changes to the room? I’ve done fifteen years in broadcasting, the process wasn’t new for me, but what was new was that I couldn’t demand a fixed analog line. Zoom, although it was very out of time, was so important just to see that the other person was still there. Ulrike: There were different computers for everything so that things wouldn’t slow down the oral communication. It is interesting all these different ways our ears are trying to reach out to try and find one another. At the other end of it is Ulrike’s recording, which is separate, which is another platform and time relationship. So that’s all going on with all the technical clarity. You make split second decisions, it’s a marvelous thing that your mind does when you make things up. You almost make decisions before you hear them, people in sport know all about this. Ulrike is trying to keep the latency as low as possible, but when you think about it you’re playing with jazz musicians who you’ve improvised with for a long time, there’s a lot of mysterious anticipation that you use. Then we’re using this Sonobus platform to actually communicate sound and improvise with each other. The musicians are using zoom with no sounds, just looking at each other to feel each other. Jane: If you think about it, less on a technical level, just how many platforms we’re trying to use to communicate with each other.
The interesting part was to establish communication between the musicians and to get the latency down. The experimental part of it was matching the internet to the speed that all the devices could take for the communication lines. Jane and Mark were so used to playing with each other that even a bigger latency works. Jane and Alison had very good internet, however the weakest was Mark’s. In order to do this, I brought in high speed gaming routers. I had to run a lot of tests to make this as fast, and with as little latency, as we could. However, one needs a higher data transmission rate (better internet connection).įor communication we used the program Sonobus which Jane recorded her first album with Alison and Mark with. As latency is created in samples a higher sampling frequency will effectively cut down latency. The LE03 works in a very ‘broadcasty’ and analog way by providing an n-1 where each musician gets their own microphone signal analog (that means without any latency) and the other musicians feed with only the delay that the transmission and the communication program provides. The microphone signals were split analog after the mic preamplifiers and went to the Pyramix systems (in 384kHz) and the Acousta LE03 interfaces (in 192kHz). Through my main recording system at Alison’s I could run Jane’s remotely and connect them.įor the musicians to hear each other I had a second set of computers and interfaces. Then I went to Alison’s house and set up my Pyramix v14. We set up the Neumann TLM 170 and Sanken CU-41 microphones in her office. Ulrike: Once we had decided that this should be done in the highest possible recording quality that we could get, I set up my Merging Technologies Pyramix v12 recording system at Jane’s apartment. If there were elements of improvisation, how did you manage this unique process remotely? Please can you tell us about the recording process? It seems to have been very successful. Photo by Ulrike Schwarz.Įditor: This album was performed in real time connected remotely from your homes in NYC.
TARGETS PLATFORM AUDIOPHILES ADDING 24BIT QOBUZ PRO
Mobile control room at Miya Masaoka’s home, Sonobus on the iPad Pro and Pyramix on a PC Audio Labs laptop with Acousta LE03 interface.
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