Hannah Peel released ‘Mary Casio: Journey To Cassiopeia’ today. The album was partly recorded on location in Barnsley by staff engineer, Oli Jacobs and assisted by Oli Middleton. To achieve the location recording, the team took an SSL L500 live console to the civic hall in Barnsley.
The album was mixed in the Big Room on the SSL console by Oli and producer, Erland Cooper and mastered by Guy Davie.
Read more here on the Bowers & Wilkins website, where the album was available first, thanks to their Society of Sound.
Hannah: “When we moved from Ireland to Yorkshire, I was dropped into a world of brass music surrounded by the low end resonances of the brass band – a sound that I never knew could exist before. That powerful and rich immersive feeling was so visceral and still gets me excited today. It felt important to write and record a piece that was true to childhood feelings amalgamated with the electronic appetite I enjoy today. I often find that brass recordings miss this mighty force and I was very lucky to have an incredible team that also supported this vision and could enable it to come to life. Along with my long-term collaborator and producer Erland Cooper, we worked with the Real World Studios team and their lead Engineer Oli Jacobs who brought all their equipment to The Civic, Barnsley: a now newly refurbished venue, which still contains the old Victorian features I remember as a child when seeing my first musicals and bands on stage.”
Erland “After Peel’s last solo record took around four years in development on the writing, sound palate or experimentation side, this record came together very quickly in her writing stage so it was important to capture the same buoyant energy and freshness on the production and mixing stages. Fundamentally this dictated a fresh commitment on the sound and mixes and encouraged what I would call an old school, no recall, mix approach. Committing to the sound palate and performances early on was vital. This happened twice in the recording stages, initially with the synth production dictated by a singular choice of instruments and working within their limitations, helped along by Brian Eno’s oblique strategies and again in the production and recording of the best performances from the brass and rhythm players. Extensive notes were taken on the day of band recording and generally each song was played around three times, no more with very few if at all punch in sections. Not least because brass players rely on their lips working well for around 3-5 hours before rest. As it was impractical to provide monitoring to all 29 players, with the exception of the drums section, they relied heavily on the conductor Sandy Smith to keep time, pace and feel. The most natural recording and performances were captured through the SSL remote desk, Real World’s two exceptional engineers and into Pro Tools running off a laptop and then collated by Hannah and I spontaneously with an instinctive gut feel that was obvious to all”
The Vamps have released their latest album, Night and Day which was partly recorded and produced at Real World.
The album reached number 1 in the UK album charts – big congratulations to the team!
More info here
Real World was proud to welcome Alicia Keys and her team, including engineer Ann Mincieli, to the studio last week.
Alicia described Real World as “BEST PLACE ON EARTH!!”, adding “Thank you for making us feel so at home. We can’t wait to come back! We’ll never forget!”
Over the last few months, our engineers have been recording more and more ‘on location’, in various venues around the country. Working with the lovely team and state-of-the-art mixing consoles manufactured by Solid State Logic (SSL), we are well placed to capture high resolution multi-channel recordings. The consoles’ architecture, coupled with our equipment, allow us to track to ProTools or Logic – recording to up to four computers simultaneously over easy-to-install fibre optic cable. The stage boxes have built-in microphone level splits, allowing easy integration with existing setups and a near-zero impact on the monitor and front-of-house engineers.
Last weekend’s recording of Stornoway at the New Theatre in Oxford goes to show just how far this technology has come. This was Stornoway’s final show before disbanding. So, with no second chances, redundancy was a major advantage – recording to three machines simultaneously while also creating a stereo mix. We were able to seamlessly integrate with minimal impact on the tour, while adding our own array of ambient microphones to capture the audience – who were in full voice!
Photo: York Tillyer