In recording classical and jazz music, we strive to create “realism”, but – in reality – the techniques we use to achieve this are often anything but ‘direct to stereo’. In this presentation I will present recordings done for commercial release in natural and studio acoustics, using similar mic arrays, yet requiring different mixing and processing in order to sound “real”:

- in one acoustic, recordings of solo violin, solo cello, solo bassoon and piano trio, - in another acoustic, a 9-voice male vocal ensemble, - in yet another acoustic, trumpet and chamber orchestra, - in a studio, two different string chamber orchestras
 
Some of these recordings will be in surround-sound; we will also discuss the differences between “ambient” and “immersive” recording techniques. However, in some cases, the addition of surround mics does little to help an acoustic space.
 
In all recordings, the ultimate goal was to capture the instrument/ensemble with a combination of presence and space around the performer(s). Similarly, the decision to add reverb would need to be based more on what KIND of space is created around the performers (i.e., how that adds to the width and depth of the recording). Equally important is how to get takes which will ultimately result in a seamless performance which makes musical sense from start to end.

David has over 75 commercial recordings to his credit, the majority of them as producer and engineer. He has recorded hundreds of live performances and produced broadcasts for NPR and the BBC.
In 1995 he formed Swineshead Productions - a classical recording production company providing high-resolution surround-sound studio and location recording production, engineering, editing, mastering.

Mr. Bowles is a member of the Audio Engineering Society (AES): he was on the Board of Governors and served on committees for the 2008 and 2010 conventions. He alternated between chair and co-chair of the San Francisco section of the AES between 2005 and 2010. He is a voting member of National Academy of Recording Arts and Sciences (NARAS) and is active in their Producers & Engineers Wing. He has betatested hardware and software for Prism Media Products and been a guest lecturer for audio programmes at the Banff Centre and The Peabody Institute.

Mr. Bowles received audio training from Tony Faulkner, John Eargle, John Newton and the ESARI at Aspen Music Festival. He received BMus and MMus degrees in violoncello from The Juilliard School and a certificate in early music performance practice from the Royal Conservatory in The Hague, Netherlands. For many years he performed and recorded as cellist with period-instrument orchestras and chamber ensembles.

Address & Directions:

Ex'pression College for Digital Arts
6601 Shellmound St, Emeryville, CA 94608
 

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http://www.expression.edu/contact_us/map_to_campus/
 
From San Francisco:
Travel east on the Bay Bridge toward Oakland.
At the end of the bridge, follow the signs to 80 E toward Sacramento/Berkeley.
Exit at Ashby/Shellmound Street. The exit ramp splits. Follow to the right.
At the stop sign, turn right onto Shellmound Street.
Expression is on the right side, approximately 150 feet from the exit.

From Silicon Valley or San Jose:
Travel Interstate 880 North.
Follow 880 North to Interstate 80 East.
Continue on 80 East and exit at Ashby/Shellmound Street. The exit ramp splits. Follow to the right.
At the stop sign, turn right onto Shellmound Street.
Expression is on the right side, approximately 150 feet from the exit.

From San Rafael:
Travel Interstate 101 South toward Oakland/San Francisco.
Take Interstate 580 East exit towards the Oakland/Richmond Bridge.
Continue on Interstate 580 East/Interstate 80 West.
Take the Ashby exit. Keep left at the fork to continue toward Ashby Ave/CA-13.
Next turn right at 7th Street and another right at Folger Avenue.
Then turn left at Hollis Street onto 65th Street.
Continue on 65th, cross the railroad tracks, and turn into the 2nd entrance on your right to enter the campus parking lot.