Recording session
Jan. 4th, 2006 09:34 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kenjariThe recording session for The Floating Land was today after work. It went quite well. The performance wasn't completely flawless, but it was certainly much better than I would have gotten on a student concert or at a reading. Bryan and Susie were awesome. Bryan is going to do the editing and such, so I should have the sound files ready to burn to a CD within the next week.
We used Rear Window Recording Studio, which is in Brookline, right near Coolidge Corner. It's literally run out of the owner's large, rambling Victorian house. Their Steinway concert grand was a fabulous piano - I almost wanted to take it home with me. It had a great sound, and was the most wonderfully responsive instrument I've ever played. I'm used to having to work much harder to achieve fine dynamic shadings. The engineers were friendly and relaxed, and the studio itself was very comfortable. It was more homey than slick or industrial, but that was an advantage as far as I'm concerned. I don't play on stage anymore, so a room that emulates a living room is bound to make me feel more at ease.
I'd never done a professional studio recording before, so it was a very intersting experience. I was a little concerned that the situation would feel foreign enough to affect my ability to play my best, but that turned out to be unfounded. Maybe the great piano that I loved playing had a lot to do with that. One of the advantages of a recording studio, I discovered, is that you don't have to be able to play the whole thing in a single take. We played the piece in sections, and Bryan will be able to knit them all together. That, and being able to listen to a click track through headphones while recording takes a lot of the pressure and nervousness out of the process.
We used Rear Window Recording Studio, which is in Brookline, right near Coolidge Corner. It's literally run out of the owner's large, rambling Victorian house. Their Steinway concert grand was a fabulous piano - I almost wanted to take it home with me. It had a great sound, and was the most wonderfully responsive instrument I've ever played. I'm used to having to work much harder to achieve fine dynamic shadings. The engineers were friendly and relaxed, and the studio itself was very comfortable. It was more homey than slick or industrial, but that was an advantage as far as I'm concerned. I don't play on stage anymore, so a room that emulates a living room is bound to make me feel more at ease.
I'd never done a professional studio recording before, so it was a very intersting experience. I was a little concerned that the situation would feel foreign enough to affect my ability to play my best, but that turned out to be unfounded. Maybe the great piano that I loved playing had a lot to do with that. One of the advantages of a recording studio, I discovered, is that you don't have to be able to play the whole thing in a single take. We played the piece in sections, and Bryan will be able to knit them all together. That, and being able to listen to a click track through headphones while recording takes a lot of the pressure and nervousness out of the process.
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recording
Date: 2006-01-05 08:32 am (UTC)