Recording - May 2012 - 12
Lynne Arriale is a seasoned Jazz pianist, who—after many years of working with her own trio—took on the challenge of performing a solo project, named, appropriately enough, Solo. The CD sounds exquisite, both in her nuanced playing and in the unusually rich and detailed sound of the grand piano. We wanted to know more about how it was done. Turns out that there was indeed something unusual going on—a live performance captured with more attention to detail and with more mics than you’ll see at your average Sunday aftenoon recital...
The Artist
The piano on Solo was prepared and miked in very special ways, with gorgeous results. This is not the first record of yours where cutting-edge technology is employed. My copy of The Eyes Have It (from 1994) shows 20-bit recording done by Tom Jung. Do you actively involve yourself in the technical aspects of your recordings? Lynne Arriale: I have been fortunate to work with great recording engineers, including Gary Baldassari. The involvement I had with Gary was to let him know that I was hoping for a sound that would make a listener feel as if they were sitting right next to the piano, rather than in the concert hall. I prefer a close, intimate piano sound. Please describe what it was like to play the Resinno-prepared Yamaha Grand we hear on Solo. There was no PA and you had no monitors. What did it sound like to you? The sound was very rich and warm; Yamaha provided a wonderful piano, and Justin Elliott’s work and preparation of the piano was awesome.
12
RECORDING MAY 2012
Interviews by Lorenz Rychner Did you have input during the selection of tracks from the live gig to end up on Solo? Did you hear rough mixes from Duke Markos, participate in the sequencing of the tunes etc.? I decided which tracks would be used for the CD. I did hear rough mixes after the session and I also shared some thoughts with Duke about the mix. Regarding the selection of tracks, Jana Herzen, the Executive Producer and President of Motéma Music, shared her very valuable input regarding tune choice and sequencing. But she left the final decision to me, as I have produced or co-produced all of the CDs that I’ve done over the years. What’s the next recording of yours going to be? I’m currently thinking about several different possibilities; but nothing definite at this time... I need a little space to breathe before I can find the next concept. How would you sum up this experience? The sound that we hear on CDs affects us emotionally, and colors our experience of the music. I’m very appreciative of the great work that Gary Baldassari, Justin Elliott, and Duke Markos did to create a beautiful, vibrant sound.
Recording - May 2012
Table of Contents for the Digital Edition of Recording - May 2012
Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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