SEan Payne | sound

Sean Payne Quartet

Recording Session Notes

One of the primary functions of a music recording relies on the preparation, vision and knowledge of the performer, the space and the coherence between them to achieve creative vision. (Burguess, p.xii).

Through planning and organisation, it was possible to ensemble the aspect necessary to deliver a recording that followed the vision of the jazz assamble “Sean Payne Quartet” for their songs Lusi, Silver and Undercurrent. Lusi, in specific, is a ballad piece that follows subtle progressions, musical structure of tracks such as “Almost Blue” by Chet Baker and Milton by Kendrick Oracle; where the piano/bass and drums trinity revolves into partitions and solo lines that allows the reprise of the saxophone’s melody and improvisation to raise through the composition. The recording/mixing choices made for the song “Silver” were based on the analysis of Jazz productions such as Milton by Kendrick Scott Oracle, Almost Blue by Chet Baker and Giant Steps by John Coltrane which follow Sean Payne Quartet’s vision of a “an intimate recording that preserves the sonic nature of each instrument rather their acoustic spread in a given space”.

The main aim for this project is to approach a transparent recording where the direct- sound of each instruments are considered among the acoustical properties of a given room; encouraging low reflections that can enhance the individual character of the performance for the overall production while avoiding lack of both: “clarity” and stereo image.

Who is SEAN PAYNE Quartet?

The musical style performed by the contemporary jazz group Lucas Caruso Quartet takes its influence from early representations of Jazz in the 1940s and 1960s (Sean Payne 2018, personal communication, 6 November). The group’s repertoire consists of original and jazz standards influenced by contemporary acts such as Kendrick Scott Oracle and Clark Tracey. Their redemption of Jazz Manouche and Free Jazz has been performed alongside musicians of the size of Clark Tracey and the National Youth Jazz Orchestra (NYJO) at venues such as Vortex Jazz Club, Map Studio Cafe, The Royal Albert Hall and the Royal Academy of Music (Sean Payne 2018, personal communication, 6 November).

Influences for the recording

The band’s inspiration for Silver are Stan Sulzmann, Kendrick Scott Oracle and Among Verticals. Specifically, Stan Sulzmann’s material was presented as the main focus of the production due to previous statements done by Cook et al. (2006, p.499) on records such as “Mother Of The Dead Man”, “Just a Head” and “Tanglewood”. Such productions were portrayed as “intelligently conceived” due to the jamming pieces and constant saxophone solos; while praising the “functional fanfare” of the “musical landscape” within the records (Cook, p.498-499). On the other hand, productions such as “Milton” by Oracle and “Almost Blue”, resemble the song structure, acoustical properties, sound localisation and vision of the band for Silver. The latest, is attributed by constant solos and sound propagation that creates a “climax” which reinforces the free jazz rhythm; embracing harmonic unity among the instruments surrounding the composition (Wrenn, 2015)

As a result of the previous statements, the vision of the band is to achieve a “recording that preserves the sonic nature (direct sound) of each instrument rather their acoustic spread in a given space (reverb)” (Sean Payne 2018, personal communication, 6 November). The study of the song structure (Appendix A) allowed to estimate a production plan (Appendix B) that followed Moylan’s recommendations for the evaluation of localisation (2014, p.205-206). Hence, distance location was the point for initial reference within the pre-production stages, where the study of the acoustic properties of three different recording environments provided the suitable effect for the listener to quickly identify the instruments within the stereo image and environmental qualities to represent an illusion of a live performance (Moylan, p.215).

Locations

The study of the acoustic properties within a given room were predominant to estimate the factors that match the artist’s sound experience on stage and their vision for the recording (King, p.61). The venues considered for the recording were evaluated by applying ORTF, XY and AB microphone techniques among multiple distances depending on the propagation of instrument and interaction of the musicians. The results per venue are the following:

Positive: Space and possibility to separate instruments through panels

Negative: constant control over reverberation due to the structure/spaciousness of the venue.

The high ceiling and size of the venue were the main considerations for pieces such as Silver, due to the predominance of solos in slow passages which could allow the hall to be heard on its own (King, p.66). The testing in the hall was done by placing panels around the instruments and microphones close to the ensemble (grand piano and drums) as shown in figure 1; aiming at balancing the impact of direct and reverberant sound. Nonetheless, the quality of the recorded material did not correlate with the reference of productions such as Milton and Tanglewood, as the reverb in the hall affected the clarity and balance of the instruments performed.

Vestry Hall

Positive: Band’s nearest meeting point, isolated room for recording, low reverb.

Negative: Infrastructure, Lack of background reduction and acoustic treatment.

The high ceiling and size of the venue were the main considerations for pieces such as Lusi and Silver, as the reverb could allow the room to be heard on its own on solos and slow passages (King, p.66). As shown in figure 2; placing the microphones closed to the assembling aimed at balancing the impact of direct and reverberant sound. The Grand Piano and Double Bass benefited from being more present in their mix in comparison to Vestry; attributed to the up-mid rage detail and low reverberation of the venue in techniques such as AB. Nonetheless, vertical reflections made the captured performance sound unpleasant/loud due to the limited space to propagate the instruments in the room; affecting the stereo image. Furthermore, the lack of acoustic treatment enhanced the presence of sound nodes and background noise; which according to King (2016) brings difficulties to discern between the direct sound of the performance and the rumbles.

Royal Academy of Music: studio 3

Positive: Acoustic treatment and reverb control.

Negative: Lack of panels for separation, limited mobility of grand piano and lack of room tone.

The positive attributes regarding Paragon studio one are the isolated, climate controlled environments and acoustically treated live room. The drums in the room were tighter in comparison to the previous venues while the piano had a control over resonance. Stereo imaging was present within the mix while the overall sound captured was closer to the band’s vision and the references provided (available in appendix B). Nonetheless, the lack of room tone is an area that could compromise the blending of the instruments within the mix. Aspects that can be overcome by considering the implementation of a secondary stereo technique higher or wider than the main arrangement (to add proportion) (Beherg, p.27).

Paragon Studio 3

As stated by King (2016, p.61) concert halls or studios should be considered as one of the instruments for music recording. Paragon studio one was the closest environment that provided the timbre and illusion of placement necessary to follow the band’s vision while providing a tight and low reverberant sound in which clarity is not affected by the structure of the room. Correspondingly, the variations of acoustics within a given space are not only given by the propagation of sound but also by the location of the sound source (instrument) and sound receptor (microphone) (King, p.76). As a result, the predominant elements to consider when executing a location recording are the configuration and placement of the main microphone system as, according to King (2016, p.76-77), it “comprises from 50 to 100 percent of the balance and sonic characteristic of a recording”.

Location of Instruments

Jazz music recordings are characterised by the spontaneity and improvisation of the performers, which is mainly conceived by capturing the interaction of the musicians (Burgess, p.230). The allocation of each performer within the recording space was implemented by studying the acoustic properties of the room and allowing the musicians to have spontaneity and visual contact (predominant for the drum and piano player). The latest, correlates with Orin Keepnews (Burguess, p.230) as “the functions of the producer to gain control over the environment” while preserving “the spontaneity that is a very important part of jazz music”. Figure 4 represents the final instrumentation placement within paragon studio 1, which followed a similar stereo image of tracks such as Giant steps for the piano and drums; Milton and Almost blue for the saxophone and the double bass. In both cases, interaction and interplay was accomplishing by giving priority to the wellbeing of the artist, which, according to Lellis (2013, p.190) allows “musicians to perform beyond expectation” when “strategic placement allows good visibility to be maintained”.

The main technical considerations regarding the positioning exposed on figure 4were to accomplish microphone distances in which the pickup angle of the ORTF and AB covered the piano and drums while focusing the XY on the bass and the saxophone. The latest, followed the perspective of references such as Giant Steps by John Coltrane. Nonetheless, the propagation and angling of instruments enhanced the presence of spillage between the saxophone, the drums and the piano which could have been overcome by positioning both panels and instruments as shown in figure 5.

Floor plan for microphone and instruments positioning in Paragon Studio One. The values showcased on the floor plan portray the relative distance between instruments and the main stereo array (ORTF)

Stereo Microphone Techniques

The recording of improvised music relies not only on creating an environment conducive to musical chemistry as it also relies on the representation of a single continuous event that took place in a given environment (Burgess, p.3; p.231). The ORTF was selected as the main microphone technique as it showcased positive results during trials to provide shaper images and location while having a wide spread on high frequencies. Correspondingly, the AKG C414 were chosen to work alongside the previous technique due to their neutral mid-range tone and inherent roll off high end and round on transients; contributing to a proper stereo imaging which enhanced the spill timbre and dimension for the saxophone, drums and the piano. Nonetheless, the selection of stereo supportive techniques such as XY and Space Pair (AB) were implemented in order to accomplish transparency and brilliance of sounds in the mix.

Following Bartlett’s research on image localisation (1979) the derived sound spatialisation in the recording stage aimed at obtaining the results presented in figure 6; aiming at providing reinforcement and imaging of the overall performance as follows:

Reinforcement

As stated by Griesinger (1987), microphone techniques that rely on intensity and time differences such as the ORTF provide both, sharper imaging and accurate localisation; aspects necessary to accomplish the stereo spread within the instruments in the production. The performance of instruments positioned among extreme left and right presented a subjective level for the saxophone and the bass to be audible by the ORTF. As a result, an additional coincident microphone array (XY) was set up in the symmetry plane of the ORTF to replicate techniques such as the “staggered arrangement” (Beheng, p.27). The support width provided by such technique enhanced the possibilities to “expand” the pickup angle to accentuate the saxophone. Nonetheless, the lack of attenuation and proximity of the XY to the quieter sound sources and its proximity to the ORTF, lead towards both techniques to capture the same sources at the same amplitude. The XY was supported by a pair of SE microphones due to their flat frequency response across 41Hz to 247Hz for the double bass (Lellis, 142) and between 156Hz to 784Hz to promote the practical range of the saxophone (Lellis ,147).

Spot Mics

The recording of the sound sources mentioned in 3.1 and figure 4 required a demand on the transparency and brilliance to provide high directional resolution. Nonetheless, the lack of audible spatial extent of instruments such as the double bass and the saxophone made the recording dependant of supporting spot microphones to accomplish the impression and balance of the assemble for the listener. Spot microphones that rely on off-centred/on axis focus on the Pizzicato (fingers) for the Bass suffered from the spillage of instruments such as the drums and the saxophone. Correspondingly, the Octavak MK12 microphone was positioned inside F hole of the double Bass, aiming for the microphone’s pickup to be acoustically separated and avoiding double reproduction and definition in the mix (Robjohns,2011).

The saxophone array comprises a cardioid SE electronics and TLM183 angled off to provide clear and proportioned sound among 700hz. The sound of the drums presented positive results on techniques such as the ORTF and AB, specially to represent the tighter character of the snare and the kick drum. To further enhance the character of the cymbals, spot AKG C414 microphones were set pointing towards the snare at “low overhead” position as seen in figure 9. The kick drums were miked off axis with a Sontronics Orpheus, to reinforce its dimension and its low-mid range in the mix. Lastly, a pair of DPA omnidirectional microphones served to capture the high and low end of the grand piano due to their smoother colour of axis pickup and tendency to catch a balanced timbre when positioned close to the source (Senior, 2011).

Mixing stereo techniques

As seen in the previous chapters, the approaches to record Sean Payne Quartet involved using a dominant array (ORTF) to pick up the overall picture of the assemble, and enhancing its attributes by (1) using supportive stereo techniques that enhance imaging (AB); and (2) reinforce the presence of centred instruments (XY). These techniques were also supported by refining the instruments that remained low, such as the kick and the double bass, by slowly bringing spot microphones into the mix.

Considering the ORTF and the XY as the main techniques for the overall mix with 2db difference overpowered the mix higher mid-range. As a result, instruments such as the saxophone and the cymbals favoured from the frontal focus provided by the XY positioning, which enhanced its presence and clarity within the mix. A similar case occurred when AB (DPA 4090) microphones were set at -9.7db level, which exalted the presence of low-mid frequencies. The proximity of the A side to the drums and kick enhanced the clarity and imaging of instruments such as the kick and the double bass while compromising the presence of the piano among the mix. The latest, correlates with Bartlett’s statement (p.277) on the liability of omnidirectional microphones to produce a wide image and low-frequency response in comparison to directional microphones. A visual representation of the perceived imaging of each instrument per technique is presented in figure 9, 10 and 11.

Mixing

Perceived XY imaging and sound propagation in Silver per instrument

Perceived ORTF imaging and sound propagation in Silver per instrument

Perceived AB imaging and sound propagation in Silver per instrument

The use of spot microphones that enhanced detail and presence were more noticeable on the DPA 4090 positioned on the grand piano, as the player’s soft performance caused strong progressions to be lost. A compensated levelling of -16db on the piano’s spot mics straighten its presence in the mix which enhance the details on the last sections of the piece. On the other hand, adding warmth on the double bass’ lower-mid range was possible due to the inclusion of the Oktava MK12 microphone inside the bass, which did not suffer from the spillage of the remaining instruments in the room. Lastly, the saxophone was slightly flavoured by the spot mics that provided tonal brightness among mid-high frequencies. Nonetheless, alternatives such as the TLM103 could have provided extra clarity and brightness of the instrument to approach the sound of the production for Milton.

The positioning and angling of the spaced pair techniques allowed the overheads sustain to be clear and clean with the kit elements, attributed to its spread within the room. The latest was also applicable for instruments positioned at the extreme of the environment (piano). Nonetheless, the location of the drums affected the pickup of techniques such as the ORTF and the AB due to their relative proximity; as stronger stabs constantly jumped in the last section of the song. The latest, could have been overcome by placing panels between the performer and the microphones, moving the drums backwards or changing the kick drums for a smaller one such as the Ascent Series Jazz set by Sonor.

Dynamics among the kick and the cymbals where the main point of levelling for the mix. The overall result was edgy and detailed on the cymbals which could have been compensated by placing microphones farther from the performers or levelling the microphones lower than head level. Nonetheless, the ORTF summed with the XY to provide centre focus and imaged with the AB enhance the sense of acoustic realism and spaciousness of the production; as instruments were represented in their relative location and affected, momentarily, by the brightness and propagation of the cymbals within the room. As a result, the fusion of such techniques contributed to prevail the acoustical tones and improvised performance of Sean Payne Quartet on Silver, which showcasing the sensibility for modern jazz in recording environments.

Written by Cesar Portillo, 2019