Park Recordings

Discussion in 'The Rehearsal Room' started by nadband, Oct 15, 2007.

  1. nadband

    nadband Member

    hi just wondering if anyone has experience of using Park Recordings?My concert band is looking at doing a new cd and we wondered about using them but thought we'd check out anyones experiences first?
  2. KMJ Recordings

    KMJ Recordings Supporting Member

    Send a PM to the forum account for Wingates Band - I'm sure there'll be someone there who can answer your question, although I don't think they've used them in quite a while.
  3. super_sop

    super_sop Supporting Member

    Hi there, hope you don't mind me pointing you in the direction of another ecording company.
    Keith at KMJ Recordings (the guy in the previous post) has done a fantastic job of recording our Band.
    You could always give him a shout and see what he can do for you.
    He comes highly recommended:clap:
  4. nadband

    nadband Member

    no probs at all.All the advice the better.We have recorded before but not with a specialist and listening back to it with fresh ears there are a lot of things i would do differently.The experience was great and the recording good,but there were things that the guy couldn't do that needed sorting in hindsight.
  5. KMJ Recordings

    KMJ Recordings Supporting Member

    Such as? (just being curious ;) )
  6. nadband

    nadband Member

    Well we arranged a producer but the company forgot the 2nd set of headphones so she had to sit in the recording room which resulted in some mistakes getting through that just couldn't be patched.The trumpet section needed spot miking listening back with fresh ears or lifting in the mix but it was done in stereo with two extras,one on kit too close to the snare and the other to pick up lower brass that while it did the job doesn't sound completely balanced now on all the tracks.However the editing was excellent,even nowing where they are i can't tell!But its these small things that make the difference and the overall levels i feel are too low but the company insisted they were fine and at the time i didn't feel experienced enough to hold out for it.
  7. KMJ Recordings

    KMJ Recordings Supporting Member

    Oops. So they weren't carrying a backup either?

    That can happen even with cans - sometimes it can even be 'deliberate' in the fact that no matter how many times you do things, they just don't get any better (or can even get worse). Then it comes down to the production team's skills in the management of expectation.

    Assuming a good acoustic and a self balancing Band, you shouldn't need any more than two mics. The performance can usually be balanced by the MD and the Producer(s), however the balance through the mics is what the Producer would need to hear.....

    Different engineers / Companies have different ways of working. Making a stereo recording with literally two mics is the purist approach. Moving up a step, you get multimiced recordings that are mixed straight to stereo - which sounds like the recording you got. Then you've got the multitrack recording with on site stereo mix (which is my preferred method of working), then you've basically got the multitrack that just has a monitor mix that's balanced back at the factory. When you book your recording, just ask whoever it is how they do it or if they're flexible enough in their approach to be able to do it how you want them to do it. Bear in mind though that you'll probably find that a full rig with multitrack is more expensive than a bloke, a stand, two mics and a laptop ;)

    Good news :D

    This is an interesting one. What was / is your reference recording(s)? Remember to compare like with like (which I'm sure you did).

    If you play a rock or pop CD next to an orchestral one - particularly in somewhere like a car - you'll pretty much inevitably end up reaching for the volume knob at some point on the orchestral CD as it'll be "too quiet". Most 'classical' (for want of a better word) recordings have a much larger dynamic range than other genres, and my personal opinion is that it's better to leave them that way as they sound unnatural otherwise although sometimes it's necessary to do a little tweaking for various reasons.

    What you'd probably find if you analysed the files that the peaks of you material were roughly similar to that of a pop / rock record. The difference comes in the average levels of the material - and it's the average level that is related to the perception of loudness. Non-classical recordings 'up' their average levels by the use of compression and limiting which has the effect of reducing dynamic range and - depending on what kind of processor you use - can also squash the life out of things. What this means is that the average level goes up potentially at the expense of the quiet bits not being quiet anymore and the loud bits only being slightly noisy.

    IMO getting a Band CD that's overcompressed is the equivalent of making a recording at all purpose mf :)

    An obvious way to listen to compressor artifacts is to listen to (some) radio broadcasts of orchestral music, particularly around drivetime. The effects are, er, more obvious on some stations than others. Wait for a 'quiet' piano piece to come on, for example, that's just as 'loud' as the full orchestral bonanza that was on before it. Listen for things like a large amount of background hiss...or if there's a sudden ff section it might get loud for a fraction of a second, and then sound like somone's jumped on the volume knob. In the worst case scenario, the loud bit can actually end up quieter than the supposedly quiet bit :hammer

    That said, you're the client and you should get what you want ;)

    Good luck with the venture.
  8. KMJ Recordings

    KMJ Recordings Supporting Member

    Actually, that should also have added in "if it's realistic and possible" :tup

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