The Sony Microphone Saga: High-Resolution Recording with Craig Field

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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?

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Let's get started.

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Welcome Hi Hi Hi Hello everyone!

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to the Pro Audio Suite.

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These guys are professional, they're motivated.

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Thanks to Tribooth, the best vocal booth for

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Introducing Robert Marshall from Source Elements and Someone

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Audio Post, Chicago.

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Darren Robert Robertson from Voodoo Radio Imaging, Sydney.

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Tech to the VO Stars.

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George the Tech Whittam from LA.

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And me, Andrew Peters, voiceover talent and home

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studio guy.

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Line up, man!

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Here we go!

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And welcome to another Pro Audio Suite, thanks

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to Tribooth.

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That will get you $200 off your Tribooth

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and Austrian Audio, making passion heard.

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We have a guest today, Craig Field, who

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works for the National Archives of Australia, but

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also was a guy who co-developed with

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Sony a microphone.

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Intriguing.

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Now, Robbo, you've been chatting with Craig.

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What's the story?

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Well, Craig, you might as well tell the

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story.

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You used to own a studio here in

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Sydney called Elkwood before you moved on to

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the archives, but you got involved with Sony

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somehow along the way.

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Tell the story.

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Look, it's a great story.

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Sony were very interested in developing a new

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series of microphones.

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High resolution audio, particularly in Australia, is not

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really a big thing.

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But in Japan, it's quite a thing.

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People listen to DSD files and high res

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PCM files.

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And throughout Europe, it's always been quite a

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substantial part of the market over there, actually.

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And a lot of the larger classical labels

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have kept it going since pre-CD days.

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So those formats, although they're not very popular

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in America or in Australia, they're really quite

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substantial.

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So Sony still make high resolution players, like

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little Walkman players that they sell lots of.

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And they sound quite amazing.

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And I guess the main thing that they

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really discovered was the main thing missing from

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the whole high resolution market was the microphones.

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Because the A to D converters were there,

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the digital preamps were there, the cable technology

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and the ability to record in multiple stereo

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fields was available.

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But they didn't sort of have the technology

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for the microphones.

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And you guys would probably know the reasons

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like Neumann's original reasons to do with phase

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problems above 20k and the development as they

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develop their microphones.

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That's why those things were kept at that

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point in that period of time when microphone

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development happened.

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And so to cut a very long story

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short, I was pretty much just working in

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my smaller studio in the Blue Mountains in

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beautiful Australia, where I had a Steinway Model

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D concert piano at that time, although I

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think I may have moved on to the

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Yamaha.

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And I was very focused on doing specialist

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high resolution recordings.

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And obviously that found its way to Sony

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and they heard about me.

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And they sent a man called David Green,

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who was the product development manager for these

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microphones.

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And he went to a number of different

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studios in Australia, including some of the really

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big ones that I won't mention.

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And they sort of laughed at him saying,

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what do you need a microphone that goes

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up to 50k for?

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And how ludicrous is that?

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And anyway, he ended up, if I recall

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correctly, he actually just caught the train up

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to the Blue Mountains and knocked on my

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door.

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And as you guys would know, rarely do

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you get someone at your studio, just knock

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on the door with a bag of microphones

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saying, hey, hello, here I am from Sony.

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So that started and I was sent the

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first beta models.

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There are a few little problems with those

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models.

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I did a lot of recordings and a

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lot of analysis, which I sent through to

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the Sydney office and then went to Japan.

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And we worked together on ironing out a

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lot of the different issues that occurred in

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that development.

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And then we moved on from that to

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a performance, which I'll share a video link

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for, which is on the Sony website, which

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was in Australia, there's a piano manufacturer called

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Wayne Stewart.

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And he's world renowned.

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He makes pretty much the finest pianos in

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the world.

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Steinway will send someone out to take me

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down for saying that.

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But Wayne has made some pretty big advancements

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in the development of the piano.

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And one of the pianos that he designed

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is called the Ballura and it's the largest

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piano in the world.

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It's got an additional two octaves on it.

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And it also is three meters in length.

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Three meters!

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Have you seen the one that the guy

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builds from Latvia or something?

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He builds it against a wall.

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It's got to be like, I mean, the

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low string is a couple of stories tall.

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It's insane.

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The Stewart's piano, it's not a kind of

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an experimental art piece.

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It's an actual product.

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Yeah, it's an incredible thing.

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And he built it using 1800-year-old

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Tasmanian sassafras wood that he pulled out of

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a river in Tasmania.

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And it's spectacular.

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And it's down in Ballura.

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So the whole event, I put together this

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big production because I'm a bit of a

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Bach nut and Bach had made a few

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adventures.

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We're talking Timber and you're talking Bach.

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Hey P, I could see where you were

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going.

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There was no Bach on the piano though,

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right?

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No, but Bach had made a few organs

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in his time and he was very much

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a man ahead of his time.

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And he had written on a couple of

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different pieces, suggested ideas, should anyone be able

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to extend the range of the piano or

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the organ in that time.

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And so I knew about that particular piece

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and I work with a lot of concert

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pianists.

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So we went down to Ballura to the

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inauguration of this giant piano.

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And with Sony, we recorded with their new

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microphones, the first recording of this extended piece

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of Bach music on the largest piano in

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the world.

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So the whole thing took a few years,

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obviously, and there's a great documentary on the

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Sony website.

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It was one of their most popular videos

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that they did for a thing they called

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Sony Stories.

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So we documented the whole thing over a

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period of years.

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And yeah, it was a very exciting thing

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to do as an engineer.

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So what's the model of the Sony, that

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microphone?

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Did you say it was C-100?

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Yeah, this is a C-100.

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And they also brought out a range of

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pencil microphones that just use the smaller capsule,

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but they're still linear from sort of 20

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to 50k.

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Who is listening up to 50k?

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It's not so much the listening, it's a

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culmination of different perspectives.

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Firstly, obviously, it's pretty easy to record at

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192 these days or at 96k.

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And therefore, you can remove some of the

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Nyquist filtering that's happening in all of our

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digital recordings.

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And by extending that Nyquist filter, that filter

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changes quite drastically as you change it.

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So for me, working at 32 bit 384

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PCM or in DXD, there is no Nyquist

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filtering.

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So there's no truncation at any level across

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any of the frequencies.

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You just let it alias way up there

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in the Netherlands of...

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Yeah, absolutely.

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Yeah, absolutely.

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But the other use for these high frequencies

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is you can do Foley and you can

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record ice breaking and then slow it down

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and still have meaningful information that drops down

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into the recording, which is just amazing for

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sound effects, for example.

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Sure, I see that.

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That's one of the reasons why people have

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recorded at 192, for example, was the Foley

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market.

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But in the high resolution market of recording

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at DSD, for example, the fact that the

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first DSD recordings and for many, many years,

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you can't edit a DSD file because it's

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a one bit file or it used to

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be.

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And so you can't cut a bit.

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And so for the audio file market and

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the audio purists and for a lot of

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the musicians as well, the idea that no

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one could tamper with that recording, no one

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can edit that moment in time and that

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it was captured in full range and full

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frequency without any intervention has been a really

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interesting part of the audio world that never

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really made it to America or Australia or

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England for that, who developed recording techniques and

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developed post-production techniques.

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So the Europeans went sort of the other

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way and said, how about we get engineers

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out of the way?

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How about we just record and make sure

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no one can ever tamper with that?

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So that's a very...

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What was the distribution method for that?

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It was discs, like Sony had the dual

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discs that were CD and DSD smashed together

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in one.

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SACD, yeah, SACD, gotcha.

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And also I have a record label with

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native DSD and had a label in partnership

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with Sony during that time to release some

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of those files.

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That Bach recording is available on native DSD.

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Was it Pyramix?

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It was the only ones that did a

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DSD editor, I believe, right?

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Did anybody else do DSD editing?

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There were a few different people like Sequoia

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used to be able to do DSD when

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it first came out and things like that.

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So there were a few, but most of

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them have fallen away and dropped it as

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a format.

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And Pyramix still offers DSD, but there is

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no real native one-bit recording now because

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the chips are advanced enough to be able

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to offer four bits or five bits without

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any major errors.

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So there's not really that pure one-bit

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recording that used to be.

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So there are some editing options in Pyramix.

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You can do some editings in DSD and

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that makes the file a PCM file for

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that edit and then joins it back together.

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Just to bring you guys up to speed,

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the way one-bit recording works is it's

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always looking at the next bit and it

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just says, is the next bit above or

274
00:11:15,710 --> 00:11:16,950
below where I was before?

275
00:11:17,010 --> 00:11:21,390
It's almost like a delta-sigma converter taken

276
00:11:21,390 --> 00:11:22,350
to the extreme.

277
00:11:22,910 --> 00:11:25,330
And so it's just floating there.

278
00:11:25,430 --> 00:11:26,790
Am I higher or lower than I was

279
00:11:26,790 --> 00:11:28,150
before in the sample rate?

280
00:11:28,510 --> 00:11:29,550
What's the sample rate of DSD?

281
00:11:29,710 --> 00:11:31,230
Like 2.8 megahertz or something?

282
00:11:31,610 --> 00:11:32,410
Yeah, 2.8 megahertz.

283
00:11:32,990 --> 00:11:35,410
It's so up there that the rise time

284
00:11:35,410 --> 00:11:38,010
is instantaneous practically anyway.

285
00:11:38,230 --> 00:11:39,990
So higher, higher, higher, higher.

286
00:11:40,110 --> 00:11:42,990
It just, you get practically a straight wall

287
00:11:42,990 --> 00:11:43,670
going up.

288
00:11:43,850 --> 00:11:44,170
Wow.

289
00:11:44,390 --> 00:11:48,250
You also get a digitized pure sine wave.

290
00:11:48,250 --> 00:11:50,410
And the way that they first developed it

291
00:11:50,410 --> 00:11:52,670
was to sort of trick the computer into

292
00:11:52,670 --> 00:11:56,510
thinking it was actually thinking it was recording

293
00:11:56,510 --> 00:11:58,890
a time code, but it wasn't.

294
00:11:59,030 --> 00:12:01,450
It was recording a pure sine wave because

295
00:12:01,450 --> 00:12:03,330
you've got a positive and a negative and

296
00:12:03,330 --> 00:12:04,010
that's all you got.

297
00:12:04,090 --> 00:12:04,690
You got one bit.

298
00:12:04,990 --> 00:12:06,450
You either got a one or a zero.

299
00:12:06,830 --> 00:12:10,150
So ultimately, you're as close to pure analog

300
00:12:10,150 --> 00:12:11,590
as you can possibly get.

301
00:12:12,270 --> 00:12:14,610
So it's a wonderful format.

302
00:12:14,750 --> 00:12:15,870
And it sounds great, guys.

303
00:12:15,870 --> 00:12:18,070
If you've never tried it, go and buy

304
00:12:18,070 --> 00:12:18,430
an old...

305
00:12:18,430 --> 00:12:20,010
Overkill for voiceover probably.

306
00:12:20,270 --> 00:12:20,570
But yeah.

307
00:12:21,070 --> 00:12:23,690
The only ones I remember were GenX made.

308
00:12:23,970 --> 00:12:25,690
I did do a recording and it was

309
00:12:25,690 --> 00:12:29,450
a GenX that had some DSD recorders, I

310
00:12:29,450 --> 00:12:29,630
believe.

311
00:12:29,870 --> 00:12:32,450
Those big boxes that they used to have.

312
00:12:32,670 --> 00:12:32,770
Yeah.

313
00:12:32,790 --> 00:12:34,470
They did a big hardware recorder.

314
00:12:35,110 --> 00:12:38,630
And Tascam made a DSD hardware recorder that's

315
00:12:38,630 --> 00:12:40,090
still out there called a DA3000.

316
00:12:40,790 --> 00:12:43,370
And that's how I started in DSD.

317
00:12:43,370 --> 00:12:45,450
Just as a proof of purchase, I wanted

318
00:12:45,450 --> 00:12:47,150
to hear if it actually had any significance.

319
00:12:47,930 --> 00:12:50,090
And it sounded unbelievable.

320
00:12:51,170 --> 00:12:53,930
And I had great equipment and was recording

321
00:12:53,930 --> 00:12:55,870
at 96 and all of this sort of

322
00:12:55,870 --> 00:12:58,090
stuff and doing a lot.

323
00:12:58,150 --> 00:13:00,710
And this is going back 12 years and

324
00:13:00,710 --> 00:13:01,790
14 years.

325
00:13:02,130 --> 00:13:06,450
And I think it's even 16 years now.

326
00:13:06,530 --> 00:13:09,130
But really, it sounded remarkably good.

327
00:13:09,270 --> 00:13:09,650
Yeah, right.

328
00:13:09,650 --> 00:13:10,990
Going back to the mic.

329
00:13:11,950 --> 00:13:14,290
The C100, looking at US prices, is $1

330
00:13:14,290 --> 00:13:14,530
,200.

331
00:13:15,090 --> 00:13:15,210
Okay.

332
00:13:15,650 --> 00:13:17,810
And this is a microphone that, from what

333
00:13:17,810 --> 00:13:20,690
I'm understanding, is like, what would you call

334
00:13:20,690 --> 00:13:21,830
theoretically perfect?

335
00:13:22,870 --> 00:13:23,670
Isn't it $800?

336
00:13:24,050 --> 00:13:25,610
Or was I looking at something wrong over

337
00:13:25,610 --> 00:13:25,830
here?

338
00:13:25,870 --> 00:13:27,110
That was a used price, I found.

339
00:13:27,570 --> 00:13:28,510
No, I thought it was that one for...

340
00:13:28,510 --> 00:13:30,790
It's a mic that's like theoretically perfect.

341
00:13:31,150 --> 00:13:32,590
Is that a kind of a way to

342
00:13:32,590 --> 00:13:33,550
describe it to an idiot?

343
00:13:33,550 --> 00:13:34,150
No, no.

344
00:13:34,210 --> 00:13:36,030
I don't think there is such a microphone.

345
00:13:36,490 --> 00:13:38,370
I think what it offers is something...

346
00:13:38,370 --> 00:13:38,990
I mean, is this close?

347
00:13:39,650 --> 00:13:40,370
No, no.

348
00:13:41,870 --> 00:13:43,510
You wouldn't want to stick this inside a

349
00:13:43,510 --> 00:13:44,030
kick drum.

350
00:13:45,190 --> 00:13:47,470
No, I don't mean perfect for anything.

351
00:13:47,870 --> 00:13:50,970
But I mean accurately accurate from 5 hertz

352
00:13:50,970 --> 00:13:51,790
to 50k.

353
00:13:51,790 --> 00:13:53,810
Like from the way the DPA would say,

354
00:13:53,990 --> 00:13:55,390
here's your measurement microphone.

355
00:13:56,110 --> 00:13:58,430
And it's just like flat from here to

356
00:13:58,430 --> 00:13:58,870
infinity.

357
00:13:59,830 --> 00:14:00,490
Whatever flat is.

358
00:14:00,490 --> 00:14:02,610
I'm just trying to conceptualize, understand this mic.

359
00:14:02,870 --> 00:14:06,290
Because we're supported by and we use Austrian

360
00:14:06,290 --> 00:14:09,190
Audio and they have one called the 818.

361
00:14:09,190 --> 00:14:11,650
It's a twin capsule mic where there's two

362
00:14:11,650 --> 00:14:12,610
capsules out of phase.

363
00:14:12,890 --> 00:14:13,950
You know, it's front and rear, blah, blah,

364
00:14:14,390 --> 00:14:14,490
blah.

365
00:14:14,570 --> 00:14:17,090
Yeah, but that's a standard sort of cardioid

366
00:14:17,090 --> 00:14:17,430
thing.

367
00:14:18,550 --> 00:14:19,750
Yeah, same exact price, right?

368
00:14:20,110 --> 00:14:21,470
So I'm looking at this mic and going,

369
00:14:21,790 --> 00:14:24,370
in a world of microphones that range from

370
00:14:24,370 --> 00:14:28,030
$80 to $8,000 to, you know, whatever.

371
00:14:28,630 --> 00:14:30,570
The $1,200 price point for what the

372
00:14:30,570 --> 00:14:34,030
performance of this microphone is, it seems like

373
00:14:34,030 --> 00:14:34,970
it has no peer.

374
00:14:35,170 --> 00:14:35,970
I mean, am I right?

375
00:14:36,790 --> 00:14:40,030
Uh, well, there are sunken microphones.

376
00:14:40,210 --> 00:14:41,110
There's a couple of others.

377
00:14:41,610 --> 00:14:46,390
But yeah, it's a really, really good microphone.

378
00:14:46,590 --> 00:14:48,630
One of the things that Sony developed with

379
00:14:48,630 --> 00:14:52,390
their Valve microphone, and they recognized this through

380
00:14:52,390 --> 00:14:56,370
older microphone development, was they built an anti

381
00:14:56,370 --> 00:14:59,030
-vibrational technology within the microphones.

382
00:14:59,590 --> 00:15:04,070
And that means that the reverberance in the

383
00:15:04,070 --> 00:15:06,850
capsule is very minimized.

384
00:15:06,950 --> 00:15:08,970
And that sort of reverberant sound that does

385
00:15:08,970 --> 00:15:11,010
happen in large format capsules.

386
00:15:11,250 --> 00:15:12,850
And it may be one of the reasons

387
00:15:12,850 --> 00:15:15,510
why Austrian Audio have gone with the shape

388
00:15:15,510 --> 00:15:16,930
of their microphone as well.

389
00:15:17,730 --> 00:15:22,470
You know, you've got a large drum, you

390
00:15:22,470 --> 00:15:24,750
know, and if you're putting it near, you

391
00:15:24,750 --> 00:15:28,430
know, noisy sound sources, there's sound and reverberance

392
00:15:28,430 --> 00:15:29,130
within that.

393
00:15:29,650 --> 00:15:30,890
And it has caused problems.

394
00:15:31,290 --> 00:15:33,570
They found that in the initial development of

395
00:15:33,570 --> 00:15:37,930
their big Valve microphone, and they developed a

396
00:15:37,930 --> 00:15:43,710
really, really substantial means of sort of decoupling

397
00:15:43,710 --> 00:15:49,050
and isolating any reverberant sound within the capsule.

398
00:15:49,050 --> 00:15:53,370
And so the Sony to really function well

399
00:15:53,370 --> 00:15:57,430
in recording those high resolution sounds, they had

400
00:15:57,430 --> 00:16:02,950
to sort of invest and really redeveloped that

401
00:16:02,950 --> 00:16:05,950
decoupling and that soundproofing within the microphone.

402
00:16:06,710 --> 00:16:09,710
So it's a great, it's a really, really

403
00:16:09,710 --> 00:16:10,850
wonderful mic.

404
00:16:10,890 --> 00:16:14,970
And the pencil microphones are just, you know,

405
00:16:15,230 --> 00:16:15,810
amazing.

406
00:16:16,090 --> 00:16:17,850
Like second to none, they're really, really good.

407
00:16:17,850 --> 00:16:18,790
So, yeah.

408
00:16:18,970 --> 00:16:20,530
Sounds like in terms of decoupling, like there's

409
00:16:20,530 --> 00:16:22,430
only one mic stand company I've seen try

410
00:16:22,430 --> 00:16:24,450
to like maximize that whole design.

411
00:16:24,570 --> 00:16:26,250
That was the Enhanced Audio Stands.

412
00:16:26,850 --> 00:16:28,030
You ever heard of them out of Ireland?

413
00:16:28,550 --> 00:16:30,410
Look, I use these guys, try at all.

414
00:16:30,610 --> 00:16:31,510
But have you ever seen these?

415
00:16:32,330 --> 00:16:33,410
Yeah, that's great.

416
00:16:34,090 --> 00:16:35,150
Yeah, I love those.

417
00:16:35,150 --> 00:16:37,410
What's the model of the Sony pencil mic?

418
00:16:38,330 --> 00:16:42,850
I think it's ECM 100 or ECU 100.

419
00:16:43,030 --> 00:16:44,510
They do a cardioid and an omni.

420
00:16:45,070 --> 00:16:46,310
Yeah, ECM.

421
00:16:46,450 --> 00:16:48,050
Because God, I remember back in the day,

422
00:16:48,110 --> 00:16:50,050
I had a pair of ECM 33Ps.

423
00:16:50,910 --> 00:16:51,930
There's, what's that?

424
00:16:52,170 --> 00:16:54,990
ECM 100U, is that the same?

425
00:16:55,230 --> 00:16:55,370
Yeah.

426
00:16:55,370 --> 00:16:55,690
Is that it?

427
00:16:55,830 --> 00:16:56,890
That's unidirectional.

428
00:16:57,350 --> 00:16:58,490
So that'd be the, yep.

429
00:16:58,610 --> 00:17:01,570
And then there's an ECM N, non-directional.

430
00:17:02,270 --> 00:17:02,750
Omni.

431
00:17:03,010 --> 00:17:03,690
They're tiny.

432
00:17:05,849 --> 00:17:09,290
So if I'm looking at the 100, to

433
00:17:09,290 --> 00:17:11,130
me, I'm having trouble with scale.

434
00:17:11,130 --> 00:17:14,369
But the 100, that smaller diaphragm up there

435
00:17:14,369 --> 00:17:18,310
still looks pretty, it's a big, small diaphragm.

436
00:17:18,430 --> 00:17:20,390
It's not like, certainly not anything like Earthworks

437
00:17:20,390 --> 00:17:21,270
is trying to put out.

438
00:17:21,910 --> 00:17:23,890
But that's the same diaphragm that's on those

439
00:17:23,890 --> 00:17:25,950
ECM 100s?

440
00:17:26,310 --> 00:17:26,990
Yeah, it is.

441
00:17:27,710 --> 00:17:31,370
And look, Earthworks is slightly different because they're

442
00:17:31,370 --> 00:17:35,630
trying to elongate the capsule and get the

443
00:17:35,630 --> 00:17:39,250
distance between the diaphragm and the preamp within

444
00:17:39,250 --> 00:17:39,890
the microphone.

445
00:17:39,890 --> 00:17:42,030
And that's a different concept altogether.

446
00:17:42,410 --> 00:17:46,250
You know, the extended diaphragm, like a number

447
00:17:46,250 --> 00:17:49,370
of different microphone manufacturers have gone with that

448
00:17:49,370 --> 00:17:52,390
idea of, you know, and B&K, I

449
00:17:52,390 --> 00:17:53,730
think, went that way as well.

450
00:17:53,850 --> 00:17:57,970
They wanted that extended microphone, like the diaphragm

451
00:17:57,970 --> 00:17:59,870
removed from the preamplifier.

452
00:18:00,150 --> 00:18:01,790
There's a whole lot of reasons why they

453
00:18:01,790 --> 00:18:02,590
do that sort of thing.

454
00:18:02,610 --> 00:18:04,610
Yeah, I mean, they do that for stage

455
00:18:04,610 --> 00:18:06,250
reasons so they can put the nice little

456
00:18:06,250 --> 00:18:07,590
gooseneck on it too.

457
00:18:07,590 --> 00:18:10,630
But I think also Earthworks' idea is that,

458
00:18:11,250 --> 00:18:13,070
and they take it more to the nines

459
00:18:13,070 --> 00:18:15,490
than even maybe B&K do, but as

460
00:18:15,490 --> 00:18:19,950
the diaphragm gets smaller, its weight is smaller,

461
00:18:20,050 --> 00:18:22,050
it becomes more accurate, but then the problem

462
00:18:22,050 --> 00:18:25,210
is it becomes noisy because it's so small

463
00:18:25,210 --> 00:18:29,010
because you're trying to amplify like nothing, essentially.

464
00:18:29,190 --> 00:18:30,030
Yeah, that's good there.

465
00:18:30,290 --> 00:18:33,550
I will send you a link, Robbo, so

466
00:18:33,550 --> 00:18:35,610
that people can watch the doco that Sony

467
00:18:35,610 --> 00:18:38,730
did on the world premiere recording of this

468
00:18:38,730 --> 00:18:40,430
giant piano, and we used the mics.

469
00:18:41,530 --> 00:18:45,330
I obviously hadn't necessarily recorded with the microphones

470
00:18:45,330 --> 00:18:48,490
in a different environment, and I'd never recorded

471
00:18:48,490 --> 00:18:51,510
a piano with that much sound and volume

472
00:18:51,510 --> 00:18:54,310
and sound range.

473
00:18:54,510 --> 00:18:57,390
And my goodness, it was so stressful, guys.

474
00:18:57,450 --> 00:19:01,050
As engineers, can you imagine having six Sony

475
00:19:01,050 --> 00:19:04,210
executives fly over with translators and stand behind

476
00:19:04,210 --> 00:19:06,150
you while you're setting up and doing your

477
00:19:06,150 --> 00:19:06,730
first recording?

478
00:19:06,750 --> 00:19:08,330
I'm interested what type of...

479
00:19:08,330 --> 00:19:09,670
Like, it must have been in a concert

480
00:19:09,670 --> 00:19:11,410
hall or something to have a three-meter

481
00:19:11,410 --> 00:19:12,350
piano, surely.

482
00:19:12,370 --> 00:19:14,370
Well, I think it's actually...

483
00:19:14,370 --> 00:19:16,830
I'll send you the doco and then maybe

484
00:19:16,830 --> 00:19:18,690
we can have another podcast about it because

485
00:19:18,690 --> 00:19:19,790
you've got to see where it is.

486
00:19:20,030 --> 00:19:21,450
It's in a private...

487
00:19:21,450 --> 00:19:25,610
It was in a reclusive billionaire's house who

488
00:19:25,610 --> 00:19:29,770
became a composer in his 40s and tucked

489
00:19:29,770 --> 00:19:31,610
himself away and was barely seen for the

490
00:19:31,610 --> 00:19:33,970
rest of his life and built this enormous

491
00:19:33,970 --> 00:19:37,150
pavilion and has sort of left his fortune

492
00:19:37,150 --> 00:19:38,290
to fund the arts.

493
00:19:39,210 --> 00:19:42,550
And yeah, the Ballora piano is down there

494
00:19:42,550 --> 00:19:44,090
in his pavilion, and it's amazing.

495
00:19:44,330 --> 00:19:46,630
It's not the piano that's actually shown in

496
00:19:46,630 --> 00:19:50,850
the Sony website, sony.net, for the microphone,

497
00:19:51,090 --> 00:19:51,330
is it?

498
00:19:51,710 --> 00:19:52,470
That is, yeah.

499
00:19:52,770 --> 00:19:53,910
Okay, I'm looking at it now.

500
00:19:54,390 --> 00:19:56,050
Do you know someone named Hudson Fair?

501
00:19:56,570 --> 00:19:57,530
I know Hudson Fair.

502
00:19:57,530 --> 00:19:59,490
Only through social media.

503
00:19:59,630 --> 00:20:00,510
We've chatted a fair bit.

504
00:20:00,590 --> 00:20:01,670
We use a lot of the same stuff.

505
00:20:01,910 --> 00:20:03,110
He's a fair sort of a guy, actually.

506
00:20:03,630 --> 00:20:05,450
No, he's the local in Chicago.

507
00:20:05,590 --> 00:20:06,450
I shouldn't say local.

508
00:20:06,530 --> 00:20:09,810
He's international, but I've worked for him and

509
00:20:09,810 --> 00:20:11,030
done a lot of recording.

510
00:20:11,450 --> 00:20:15,130
When he needs somebody, he can just go

511
00:20:15,130 --> 00:20:16,830
into microphones to no end as well.

512
00:20:17,090 --> 00:20:19,010
He's got quite the collection.

513
00:20:19,650 --> 00:20:21,210
He has used the Sonys.

514
00:20:21,470 --> 00:20:22,210
He likes them.

515
00:20:22,650 --> 00:20:24,990
I'm just thinking Robert and Craig locked in

516
00:20:24,990 --> 00:20:26,490
a room for a weekend.

517
00:20:26,490 --> 00:20:28,130
Wait, yeah.

518
00:20:28,390 --> 00:20:29,450
We should record that.

519
00:20:29,910 --> 00:20:30,930
Let's do it.

520
00:20:31,810 --> 00:20:34,030
Frequency modulator springs to mind.

521
00:20:34,250 --> 00:20:35,250
Oh, come on.

522
00:20:35,330 --> 00:20:36,250
We could get exciting.

523
00:20:37,910 --> 00:20:38,730
Well, that was fun.

524
00:20:38,830 --> 00:20:39,230
Is it over?

525
00:20:40,370 --> 00:20:42,030
The Pro Audio Suite.

526
00:20:42,110 --> 00:20:43,270
With thanks to Tribus.

527
00:20:43,450 --> 00:20:44,730
And Austrian Audio.

528
00:20:45,070 --> 00:20:46,370
Recorded using Source Connect.

529
00:20:46,790 --> 00:20:48,330
Edited by Andrew Peters.

530
00:20:48,590 --> 00:20:50,550
And mixed by Voodoo Radio Imaging.

531
00:20:50,630 --> 00:20:52,770
With tech support from George the Tech Whittam.

532
00:20:52,850 --> 00:20:54,870
Don't forget to subscribe to the show and

533
00:20:54,870 --> 00:20:57,090
join in the conversation on our Facebook group.

534
00:20:57,150 --> 00:20:59,210
So leave a comment, suggest a topic or

535
00:20:59,210 --> 00:21:00,150
just say g'day.

536
00:21:00,230 --> 00:21:02,810
Drop us a note at our website theproaudiosuite

537
00:21:02,810 --> 00:21:03,630
.com.