Jazz Advent: Pure Imagination by Eliott Knuets, Jonathan Collin-Bouhon, Prof. Jorge Rossy

Jazz Advent: Pure Imagination (Leslie Bricusse / Anthony Newley)
by Eliott Knuets (g)
Jonathan Collin-Bouhon (db)
Prof. Jorge Rossy (dr)
Music Production by Prof. Daniel Dettwiler
Video Production by Simon Schwab
Production supervised by Prof. Daniel Dettwiler
© Jazzcampus Basel
Musiktudium in Basel / Study in Basel: www.fhnw.ch/de/studium/musik
Veranstaltungen / events: www.musik-akademie.ch/de/vera...
Konzert-Aufnahmen / concert recordings: www.musik-akademie.ch/de/vera...
#music #classic #studymusic #jazzmusic #jazz #musikvideo #musician #hochschule #university #universität

[@sammclachlan851]

The recording is phenomenal 👏🏼👏🏼👏🏼

[@paulgerards6494]

So verdammt schön !! Klasse & Danke Männer !!

[@victorcarrascosa2003]

To muchhhh!!! Beautiful

[@PabloHeldmusic]

bravo! sounds great!!

[@danieldettwiler.official]

Pablo! Let's also do at least one production you and me in such an old-school way! I would really like to do it one day! With a Grand it is even more difficult but it can be done.

[@doctordrum100]

Bonito,Bonito !!

[@stepmercier]

excellent! la peche melba! un de mes standards favoris :)

[@DSteinman]

Killer rendition and recording!

[@danieldettwiler.official]

Thanks🙂

[@obakobina]

🔥🔥

[@JackyWalraetLuthier]

❤🧡💛

[@Signal_Glow]

Very interesting, it can't be bad if first mic shown is M49V. Capsule must be close, what tube does it have? Massenburg preamp or something else? Despite good musicians information like this is a must for us who like torture of rarely being happy with how something we work on captures the sound :)

[@danieldettwiler.official]

It's not a M49V. I tried to recreate the situation that Fred Plaut has done recordings between 1950 and 1960. Shame on me maybe, as I should have brought mics from back then (as I have the luck to own such vintage mics). However, it also was a school project, and I wanted to show that you can do such a recording with mics that a school can buy today. So I used two Flea 49 (which by the way are fantastic mics!). On the Guitar, I used a Soyuz 017 FET. For the room, I used 2 DPA 4006. However, I placed them rather special. The room is basically a little bit too small for such old-school recordings. 300 m2 would be good. So I needed to be closer with the mics. The Drum mic would typically be placed with a little bit more distance, so it would also capture the bass drum. As I had to go closer with it, I placed the left room mic in a low position, and not too far away from the bass drum, so the drum sounded complete again. The other Room Mic I placed so, that it picked some finger noises from the Guitar player. At the end, it is always a lot of Intuition - and it was great fun!

[@Signal_Glow]

@@danieldettwiler.official Great, when Flea was starting out with mic bodies kits and later finished mics (possibly U47 for simpler head basket), we were buying 20eur EF12s and some other tubes from the same guy in Slovakia measuring them for our use in various applications.. Idea of using new mics to do what Fred Plaut did at the time is certainly a good one. I'm sure students learned how right technique and good musicians are more important than fancy gear, big rooms, watching waveform more than listening and so on. I really like the sound you got here, it is interesting how close to hearing musicians live this sounds. Even basic gear came a long way since F1/ADAT in early 90's or so. As you wrote of Fred Plaut and probably discussed his work at Columbia; i just finished working on something from "Langevin_Catalog_1961", it is kind of go to catalogue for those wanting to know more about the gear used in 50's at Columbia 30th Street Studio. They had Langevin AM-116/7b, later AM5116b mic/line amps with plug in eq's, AM5301 Leveline amps and of course tape. So not much to go wrong, 61' catalogue is very good resource showing levels, type of gear with wiring, evolution of electronics pointing to future use of transistors, accessories and so on. Anyway, device from catalogue is AM-5116b mic preamplifier originally used for anything from mic up to bus level. First 30th street amp of this type was RCA, then AM-116b before switching to AM-5116b. Some of your students might be interested in understanding signal flow shown on p. 12,13.

[@danieldettwiler.official]

@@Signal_Glow Well - I agree, except for the room (size). If the reflections come back too early, this old-school aproach does not work, at the same time, it does not work very cheap mics. My Working hypothesis is, that it has to do, that the crosstalk on cheaper mics is not sounding nice. However, there are possibilities, with Ribbon mics i.e. old-school recordings can be done, although you have to place musicians then differently. In my teaching, it is very clear, that music comes first, just as the meat quality comes first before the importance of the chef. But then, the best meat is worth nothing is the chef is making a bad job. I recommend to my students often the book of John Culshaw. There is a lot to learn there, reading how they did what seemed to be impossible back then, making a great recording of the Wagners "Ring".

[@Signal_Glow]

@@danieldettwiler.official Sure, small rooms don't sound like the big ones, my comment was more about evolution of the studio gear, what else than microphones helps get that sound. When my generation started out tape was the norm because adat wasn't sounding as good, having good preamps meant using mixers or outboard gear. All of this, except for the microphones, got a lot more affordable. As we speak of gear, did you use any particular preamps or compressors? I fully agree with your working hypothesis about cheap mics not doing the job as they are technically very demanding, one small mistake like not well clean fingerprint ruin the sound. Especially Chinese have shortcuts in everything from capsule to electronic circuit, although some of their bodies are useful for serious mics as shown by Oliver Archut by Tab-Funkenwerk. When finishing audio electronics studies i came into contact with electrical engineer Lester Smith who was taking care of the microphone collection at Abbey Road Studios, working on Blumlein's inventions and many other things. John Culshaw is known to me for his work on stereo opera emerging at the time, a lot of what he used was designed by Blumlein. Anway, Lester and i dive into recreating certain EMI mic/line amp because it was a lot more interesting than making another copy of a lot more known V72 or Redd47 main studio amplifiers (up to line levels), also gave more period correct sound without using tape. Great experience for learning audio electronics, get things tested at his place, other studios, people, and of course opening some doors. You might be interested in his videos, one of them where he also talks about their use is "Studio Microphone Collection of Abbey Road Studios - With the man that looks after them". Wish he mentioned other things like modified Altec compressors, Telefunken, Fairchild, their own from EMI and so on.

[@danieldettwiler.official]

@@Signal_Glow Interesting reading. Du you have a link of that video? I think I saw it anyway. The Abbey Road collection is impressive, I worked there for several recordings and was shown once the collection. I do have a lot of nice preamps, i.e. Lorenz 241 or V76, and they change the entire chain if they are used. Important attributes like size or nobleness of a sound is an issue. But on location recordings, here, I think, that if we stick with modern but good built units (I use the Horus), it is good enough, as virtually any good mic I plug in to the horus sounds good and acourat. If I need size or warmth later, I do it with the console. Some Engineer might criticise me, but that's the way I go, just to be more practicable.

[@yvescollin6130]

Çest le canapé près du feut