Portable Studio Reimagines Orchestral Recording
Whether you’re recording a large ensemble on a scoring stage or some far-off church, nothing matters more than the first matched pair. Many national broadcast corporations adopted and standardized two-mictophone configurations for all their respective orchestral recordings. This portable studio enables vital broadcast-quality stereo capture, unmatched by any handheld recorder. Much research, design, and human ingenuity went into the development of the myriad microphone techniques we call upon today. As in a commercial studio, the accuracy of reproduction will rely on the engineer’s technique. The console preamps and digital converters are streamlined for quality and portability, nothing else. In the era of multitrack recording, many still believe the ultimate live reproduction requires specifically two microphones.
Opening the small Pelican case reveals a souped-up MacBook, a recording interface with no bells or whistles, a classic collection of microphones plus a few secret handshakes. There’s headphones for monitoring microphone adjustments and even portable phantom power for condensers.
Here’s an excerpt from the portable studio's first run performed by a trio on doubleness, bassoon and viola. They recorded on the night before their Pyatt Hall performance March 22nd at the 2018 Sonic Boom Festival. Thomas composed this piece for the "Caulfield in the Cape" suite, a South-African and multi-cultural collaboration with wheels in motion for 2019.