Photo by Katrina Milne

what we do and what we don’t

We largely take on individual projects that are often unusual and challenging to engineer, projects that many¬†other sound people don’t or won’t do: high resolution music recordings in unique acoustic spaces, out-of-doors performances and events, non-traditional combinations of musicians and instruments, blending of acoustic instruments with electroacoustic resources and amplification, radical departures from traditional music making, sound art installations, natural soundscapes, public spectacles, scientific research projects, and much more.

We also do live concert recording in venues where the desire for unobstructed sight lines and fast setups in problematic spaces can take precedence over optimal microphone placements and balance. We can use extremely small, inobtrusive, ambisonic microphones that can be decoded to virtually any stereo or surround configuration desired. Using high-end processing software, the recording is rendered to multiple combinations of patterns with spot emphasis to correct levels that were improper during performance. Such a microphone setup is almost imperceptible to an audience.

We usually do not do muti-track pop music recording. There are plenty of commercial and project studios that just do this and many who do it well. It’s just not our thing. Neither is film and video dialog recording, a niche that is filled by many other people specializing in this activity.