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Beyond the chamber, plate, or digital reverb. Electronic architecture and the acoustically flexible recording environment

2018; Acoustical Society of America; Volume: 144; Issue: 3_Supplement Linguagem: Inglês

10.1121/1.5067710

1520-9024

Steve Barbar, Russ Berger,

Music Technology and Sound Studies

For more than 20 years, Electronic architecture has been successfully integrated in a variety of venues for live performances. We will discuss how the inclusion of this technology in recording facilities has both altered recording methods, and expanded clientele at three recording facilities: The Dimenna Center for Classical Music is New York’s premier facility for recording acoustic music. Recent projects include the soundtrack for the Coen Brothers’ feature film Hail, Caesar!; the Grammy-nominated cast album for The King and I featuring Kelli O’Hara and Ken Watanabe; the soundtrack for James Schamus’ Indignation; a Grammy Award-winning album by Room Full of Teeth; and an upcoming harmonia mundi release featuring Pablo Heras-Casado and Orchestra of St. Luke’s. Sweetwater Music has recently expanded its recoding capabilities and upgraded the E-Coustic system with the latest hardware and software. Recent sessions include the Counting Crows, Adrian Belew, and Steve Curtis Chapman. Fo’Yo’ Soul is Grammy award winning Kirk Franklin’s new facility in Arlington Texas designed by Russ Berger. The studio (Uncle Jesse’s Kitchen) features one of the first E-Studio product installations that allows acoustical conditions in the studio to be adjusted at the touch of a button, allowing soloists and ensembles to record in an environment tailored for comfort and creativity.