One microphone. One take. The reverb the building gives you.We don't record in studios. We record in chapels, barns, swimming baths and a tram shed, and the room's name is on the sleeve next to the musician's.
Order the recordEvery wall sends the note back a little later and a little quieter. Add them up and you get the room's sound: how long a chord hangs after the bow leaves the string. We choose the room for the piece, not the other way round.
No overdubs, no edits between takes, no reverb added afterwards. If a bus goes past the chapel, the bus is on the record. Three of our best-selling records have a bus on them.
Each one is a musician and a building. The sleeve names both. The pressing is 180 g, the sleeve is board, and there's a card inside with the floor plan and where the microphone stood.
Six suites, one afternoon, a 2.4-second tail off the tiles. The plug still drips. You can hear it between movements.
Ten songs at eleven at night, because that's when the road outside goes quiet. One of them has a fox.
An upright piano at one end, the microphone at the other. Four seconds of reverb, and rain on the roof for the last three pieces.
They're on the wall of the van. They're also, in smaller type, on the back of every sleeve.
Any of the three, or all three for £76. Posted in a box with a floor plan. Subscribers get every record we make, about five a year, and an invitation to the next session, which means standing very still.
Order the record