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When we started ten years ago, our system of recording was like every other company, whereas the musicians listened to Elvis' track then did their best to recreate it. Our customers quickly told us they liked what they heard, but the songs were either too fast, too slow, missing a beat or a cymbal crash, etc. We decided that we would try recording with Elvis, Real-time (putting Elvis' music on a track and recording along with him). This was a great innovative idea and has proven very successful for us.
Audio synthesis was developed, again after our customers loved what we were doing but wanted a truer representation of the original product. A truer representation of the original product? We were already recording note for note, beat for beat. What were we missing?
While working on a project with one of Canada's greatest producers and guitarists, Bill Bridges, he pointed out that not only was the recording of the instrument important, but the "ambiance" of the instrument was vital. OK! What does this mean? Ambiance - there 's room ambiance meaning the size of the room, the materials on the walls and how the sound reflects, but that wasn't it. Then it hit me! When you listen to a live instrument your ears pick up the sound from many areas in the room at once. I will give you an example. When you are standing in front of a beautiful sunset it can be breathtaking. You want to take a picture to remember this experience but the picture doesn't come close to what your eyes are witnessing.
Digital recording is in many ways like that picture -- flat and limited. Analog captures more of the instruments’ ambiance, but still nothing like hearing it live.
We decided to really capture the sound, be it guitar, trumpet, vocals, etc. We would record each instrument from multiple points in the room giving each mic its own track and then mastering down to two tracks. Remember the Matrix, where a scene is taken from many cameras positions, giving you multiple shots.
Take the Aloha album . Each instrument was recorded from many microphones, because of instruments bleeding into nearby mics, something you don't get with today's digital technology.
Not only are we getting the same result (Analog), but it’s recorded at the highest quality (Digital). We use the same instruments, same room, same angles to capture the essence of each instrument, making it possible to perform from one CD to another seamlessly, not only song to song but from CD to CD. Others we have heard lack the consistency within the same CD. For example, CC Rider may sound live, but Big Hunk sounds like it was recorded with an old Casio piano and a Sears guitar.
Now when ETA's and producers hear our Audio Synthesis recordings, the first thing said when compared to our competitors is how consistently live the new sound is. We have been overwhelmed with letters and phone calls from customers saying they liked our original Aloha but would love to have it re-recorded with this new technology.
CD albums recorded using Audio Synthesis to date :
In Concert 1977 volume 1
In Concert '76/ '77 volume 2
Madison Square Gardens
On Tour/ Rehearsal/ Studio
Gospel Vol 1 and 4
CD albums to be recorded using Audio Synthesis:
Aloha
In Person 1969
On Stage 1970
Mid-South 1974
Promised Land
Gospel vol 2 and 3
....and the list goes on!
There are some samples of Audio Synthesis on our website www.kingtracks.com
King Tracks would like to thank all our customers for their comments over the past ten years. I believe together we have created the best tracks available.
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