Recorded into a USB thumb-drive, through a Yamaha Rivage PM-5 Console. My feed was via Dante, directly from the Rio pre-amps, and mixed in a studio in an ajacent building to the venue. The venue was originally a cinema, with wooden pannelling, a balcony and a capacity of 1,215 seats. Instrument-wise, there was a Grand Piano, 2 Flutes, 4 Saxophones, 4 Trombones, 5 Trumpets, Drumset, Percussion, and Bass Guitar.

240926_Srisley_BerkleePerformanceCenter_Centric-PrintFromYamahaRivagePM5_Live2Track

Recorded through a Midas M32 console, into Nuendo Live, mixed in ProTools, and masrered in StudioOne, this track has been throught the ringer digitally. But the care and attention to detail meant the quality was wholly preserved - yet still with a turn around, for an hour-long live-album, of around just 3 weeks.

240315_JuanBotero_160MassAve-Caf_Centric-LiveMixExample2_MASTER

Recorded through a Midas M32 console, into Nuendo Live, mixed in ProTools, and masrered in StudioOne, this track has been throught the ringer digitally. But the care and attention to detail meant the quality was wholly preserved.

240502_PaytonTaylor_160MassAve-Caf_Centric-LiveMixExample3_MASTER

This track was recorded using a fairly wide selection of stereo pairs in different configurations, to capture a highly dimensional sound.

Mics:
Neuman KM184 (Over Conductor's head, in ORTF configuration)
Shure KSM353-ED (Spaced halfway between the conductor and the sides of the stage, along the front of the orchestra, at the sitting player's head-heights.)
Sennheiser MKH40 (Spaced at the outer front edges of the stage, pointing above the sitting player's heads, and aiming at the players at the back of the orchestra.)
Sennhesier MKH40 (Spaced on the outer front edges of the stage, pointing down at the players in the middle section of the stage.)
Electro-Voice RE-55 (Hanging 20' up, from the rigging, across the left and right middle of the stage.)
DPA 4017B (Spaced at the outer front edges of the stage, facing out to the audience, as "applause" mics.)

240507_BerkleeSymphonicWinds_BerkleePerformanceCenter_Centric-PrintFromYamahaCL5_Live2Track

Recorded through a Yamaha QL5 console, from its pre-amps (which I set, as I also ran FOH for this show), via Dante into Nuendo-Live. From there, I took the multitrack and mixed and mastered it. The setup was a small recital hall, with a Fazioli F156 grand piano, upright bass, drumset and (in this exerpt) muted trumpet.

230311_PeytonGriffinTrio_1140BoylstonSt-1A_Centric-LiveMixExample4_MASTER

Recorded through a Yamaha QL5 console, from its pre-amps (which I set, as I also ran FOH for this show), via Dante into Nuendo-Live. From there, I took the multitrack and mixed and mastered it. The setup was a small recital hall, with a Yamaha GC1M baby grand, upright bass, drumset and (in this exerpt) electric guitar.

250416_RichieNoyes_1140BoylstonSt-1W_Centric-LiveMixExample5_MASTER

Recorded through a Yamaha QL5 console, from its pre-amps (which I set, as I also ran FOH for this show), via Dante into Nuendo-Live. From there, I took the multitrack and mixed and mastered it. The setup was a small rock venue, with a baby grand piano, upright bass, drumset, trumpet, saxophone, vocals, and Joel Ross himself on the vibraphone.

240313_JoelRoss_939BoylstonSt-TheRedRoom_Centric-LiveMixExample6_MASTER

This reacording was done in a very small bedroom in Boston. Its my freinds Juan Botero on drums and vocals, Zach Schrager on baritone electric guitar, and Richie Noyes on bass guitar. I used a Focusrite Scarlett 2i2 interface, and a Roland Rubix22, combined as an aggregate device for a total of 4 Inputs. However, i also had a small, analogue mixer, that I used to get more inputs, which I used for the drums, and bass. I then had 2 inputs left over for guitar and vocals.

240926_Srisley_BerkleePerformanceCenter_Centric-PrintFromYamahaRivagePM5_Live2Track

Centric Engineering