I have been
doing.. for lack of a more concise term... "Classical Remote Recording"
for about 15 years.
After a substantial interest in recording and music technology through
high school and college, I started my professional work for Al Tear
Recording (ATR) doing primarily festival gigs (district, region &
state choir, band, orchestra, etc.), high school concerts, and local
community & semi-pro groups. ATR has done substantial
recording with the University of Pittsburgh and Penn State marching
bands and he holds the concert contract for Indiana University of
Pennsylvania. Over the past few years I have handled most of the
University of Pittsburgh work and a substantial amount of the IUP work
including many of the IUP Jazz Band, IUP Jazz Ensemble, and IUP Alumni
Jazz Band concerts and in 2005 a cooperative concert between IUP
faculty, students and the internationally demanded shamisen duo Nitta
In addition to my work with Alan, I worked for WQED-FM on their
Performance in Pittsburgh program - again doing remote recording - from
about 1999 until 2004. During that stint I recorded many of the
concerts by the Pittsburgh Chamber Music Society, Renaissance and
Baroque Society, Pittsburgh Concert Society, the Steinway Society, and
others with groups such as the Orion String Quartet, the McKeesport
Symphony, Peter Schickele, Pittsburgh New Music Ensemble, and many
other local talents including recital performances by many of the PSO
My work with WQED-FM led to a relationship with the Pittsburgh Piano
Trio and Igor Kraevsky (http://www.igorkraevsky.com).
I have engeineered several CD's for Igor including 3 with the trio 3 with Natalia Kraevsky and one
with both Natalia and the trio. I have been singing with
the Bach Choir of Pittsburgh since 1999 and have done their
concert recordings on and off during that time, including the sound
design and archive recording for our combined jazz commission by Joe
Negri (http://www.joenegri.com) and Tom Roberts in the spring of 2006. More recently I have been building a relationship with the
Washington County Arts Choir (http://www.wcac-sing.org)
and in the spring of 2006 I both recorded and provided sound
reinforcement for their concert of the Joe Negri Mass of Hope with Joe
Negri and Trio Bravo.
In the summer of 2005
the University of Pittsburgh Music Department approached me about
proposing a sound system for Bellefield hall that would include both
sound reinforcement and recording capabilities for the wide range of
groups performing there. The arrangement progressed from proposal
to the purchase and installation of the system, to providing some basic
training, to the department realizing that they didn't have staff with
time or sufficient experience to use the new equipment.
Currently, I am the primary authorized engineer for the
hall, established in order to both maximize the usage of the
space and protect their investment.
I have a Bachelor of Music degree from Westminster College (New
Wilmington) where I majored in music education with a concentration in
voice. I am the full time IT and accounting person for Pet
Supplies "Plus" in Pittsburgh, PA and in addition to part time
recording engineer, I have been a Mobile DJ (http://www.boyd-arts.com/djstyle.html)
for about 6 years and for the last few years I have been expanding my
engineering into live sound including acting as the house engineer in
2006 for Sports Rock Cafe.
I mention the non-recording work bcause I believe that all of the
different roles I play help to reinforce each other. The lines between
computer engineers and audio engineers are becoming gray. The business
of music plays a role in almost every recording. The structure and
planning required by a wedding reception or other DJ event mirrors the
structure and detail required by concerts and recording sessions.
Today's equipment facilitates the integration of recording and sound
reinforcement creating a more coherent production for both the live
audience and the recording.
The relationships I have built in my recording career provide me access
to a wide variety of equipment. Most of the time I use a Yamaha
O1V/96 digital mixing console and a Mackie MDR-24 24 track hard disk
recorder linked via lightpipe. This provides me with 16 channels
of 24-bit 44.1kHz or 48kHz digital audio. I have up to 16
channels of Millennia preamps and 16 channels of Prism Sound AD/DA
converters that I can use depending on availability to supplement the
O1V and MDR. My microphone selection frequently includes the
Sennheiser MKH-series, AT-4050 multipattern, AKG-414, Rode NT-5 matched
pair, Audix D-series, and of course Shure SM-,PG-, and Beta
series. I edit and mixdown with Sony Vegas in my home and Mackie HR875
monitors and AKG-271 headphones (both of which I can make available
during sessions). My equipment is designed for mobility, making
any venue a potential recording studio. I have frequently done
work at Kresge hall on the CMU campus, Bellefield hall on the Pitt
campus, and PNC Recital hall on the Duquesne campus in addition to
several area churches.
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