在最后的日子里，我们获得了难得的机会来保存重要的音乐史。有消息说，位于曼哈顿中城的历史悠久的克林顿录音棚将永远关门大吉，注定要改造成一个现代化的公寓大楼。其中包含的许多宝藏之一是这种曾经在哥伦比亚唱片30街录音棚中生活过的特殊施坦威D型音乐会大型音乐会。哥伦比亚广播公司第30街录音棚“教堂”也许是50年代和60年代最有影响力的录音棚，制作了数十种不同风格的传奇专辑。在这些唱片中，这架钢琴在两张专辑中起着至关重要的作用，至今仍被认为是有史以来最好的唱片之一。首先是原始的Glenn Gould“ Goldberg Variations”，这是有史以来最受好评的古典专辑。四年后，迈尔斯·戴维斯（Miles Davis）创作的《蓝调之歌》（Kind of Blue）永久改变了音乐。
We were provided a unique opportunity to preserve an important piece of musical history in its final days. Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex. One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios. The CBS 30th Street Studio, “The Church” was perhaps the most influential recording studio of the 50’s and 60’s producing dozens of legendary albums in various genres. Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time. First being the original Glenn Gould “Goldberg Variations,” the most critically received classical album of all time. Four years later came Miles Davis’ “Kind of Blue” which forever altered music.
THE STORY CONTINUES…
A friend of ours, John Davis, did a scoring session at Clinton and let us know about the closing as this day was to be the final date. As the conversation drifted from the saddening state of affairs for large stages we came to talk about why this particular stage was a special place. Although I had previously worked at the this studio I was never aware that the grand in the corner was the “one piano” used in so many of my favorite recordings.
At the time we were in Seattle conducting some non-cinesamples recordings. Mike and I walked over to secure a copy of Ashley Kahn’s paperback Kind of Blue: The Making of the Miles Davis Masterpiece. This book pushed us across the threshold and the vision for this session started to become a reality.
As Patti headed back home to put the finishing touches on the Seattle project Barry caught a red-eye that night for Manhattan. We had arranged to extend the closing date of Clinton by one day, just ensuring us enough time to sample this extraordinary instrument. Much of the gear being used was already up on Ebay. It was the last session ever recorded at Clinton.
ABOUT THE RECORDING
With a mind to the handful of historic pictures from the recording Kind of Blue our engineer Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones. The first pair – the M49’s from the old Columbia set up in historical position (note that the original was in mono), the two other pairs each set back a touch, each further from the previous.
We recorded two signal chains for each mic, a clean signal going through the Neve console and one going through a historic tape machine and finally into Pro Tools. We highly suggest exploring the charming colorization of the tape signal but both are provided for your convenience. For some of the youngsters out there – note that tape will alter the sound of medium to high gain velocity layers and that often engineers go through great lengths to achieve this distortion.
The piano was sampled chromatically exposing delightful variances in timbre with each key. This was the only way to get a true representation of the instrument. Barry was the pianist for the sampling and he employed a unique strategy.
– 1949 Steinway D via Neve 8078 Console
– 8 Velocity Layers Sampled Chromatically
– 9300 Samples
– 3 Microphone Positions
– Close/Vintage – 2x Neumann M49 near the lid
– Mid – 2x B&K 4007 at the tail of the piano
– Far – 2x Sennheiser MKH20′s in the hall
– 2 Processing Paths (Tape; Direct in)
– Studer A800MKIII 24 Track Analog Tape Machine
– Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
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