My experience with audio recording started in the mid 1970's as an assistant to the late James A. Williams, Ph.D. who introduced me to field recording of the spoken word - and to the razor blade. We used Tandberg and Ampex tape recorders which eventually gave way to the NAGRA 4.2. This was the time when I started paying close attention to the art and science of microphone placement and when I first saw a Brüel & Kjaer frequency response measurement printout. A period of involvement with Trans World Radio followed and so did an internship at the Evangeliums Rundfunk in Wetzlar, Germany where I fell in love with the “precision” part of audio engineering.
A lot has happened since then and my involvement in recording and music studies took a step back to focus on modern computer and networking technologies only to come back again lately with vigor and a wealth of inter-disciplinary knowledge.
Waves of different recording technologies have come and gone since my first tape recording, but the art of listening and microphone placement I learned then remains applicable today as it was in the "last century". The tools that we have now are incredible, and the quality of realism achievable via high resolution recording demands that we pay even closer attention and serve our audiences and generations to come with the very finest sonic results.
Live sound for Grammy nominated One O'clock Lab Band with guest artists such as Steve Gadd and Lou Marini.
Technical Director, Recording Engineer and Producer for the International Keyboard Odyssiad® and Festival.
Live recordings of Van Cliburn competition medalists and international superstars Olga Kern and Valery Kuleshov and the White House named US Presidential Scholar of the Arts and a Steinway artist Hsing-ay Hsu.
Favorite DPA Microphones
- 4006-TL on S5 kit for surround capture and greater dynamic range applications
- 4006A for stereo imaging and general use
Company: Sound Masters LLC
Fort Collins, CO, United States