Musicstry Studios, discover the Truthful Recording Technology

The purpose of the Truthful Recording Technology is to achieve transparency.

To go about this, we use a fixed setup. We only use two mics always placed on the same exact spot of our auditorium (outside of the stage area). We do not use any mixing or mastering. Our technology is all about calibrating the hall and the recording chain to be transparent. The better the calibration, the more transparent the setup will be and the more control the artists will have over the recorded sound.
All our recordings are made exactly the same way. The hall, the stage, the recording gear and the calibration are the same. In fact the only thing that is different would be the artists themselves. So if you listen to recordings of different artists you should get a sense of how they use their instruments to produce sound in a different way just like you would if you were to listen to those artists in a real concert situation. This is actually an important part of this Truthful Recording Technology.
This is the product of an 8 year research project. The project started in 2009. By April 1st 2013 we had finished working on the physical side of things (fixing the problems presented by the acoustic relationships between hall, stage and pickup point). We then spent the next four years working on the calibration of the recording chain. We worked on many different calibrations and developed methods to test and verify the results. By August 1st 2016 we had reached the transparency point (Calibration v2.0).
Should you want to try the sound of the

Truthful Recording Technology v2.0

on your system please feel free to download the Demo Song of any of these albums:

"Conversations" by Enrique Bernaldo de Quirós, piano.

"Albéniz Iberia" by Luis Grané, piano.

"Cabrera plays Debussy" by Ángel Cabrera, piano.

"Chopin Polish Songs" by Iwona Sobotka, soprano. Ángel Cabrera, piano.

"Songs of Paolo Tosti" by Francisco Corujo, tenor. Ángel Cabrera, piano.

(There is one more album on the PlayClassics Catalogue called "Debussy Préludes. Book 1" by Enrique Bernaldo de Quirós, piano. That album was recorded on 2012 before we finished building our setup. The sound of that albums is NOT consistent with the sound of the Truthful Recording Technology v2.0. That is the reason why it has been taken it out of this list.)

What do we mean by "transparency"?

Say we built a full range instrument designed to PRODUCE the same color on everyone note. If you allowed that instrument to vibrate freely (without the constrains of any walls around it) you would be able to HEAR that same color on every note. (Let's name this sound "A")
Now imagine you take that instrument into a room. The walls on that room will constrain the way the instrument vibrates. Depending on where on that room you place the instrument the distances from the different walls will affect each note in a different way. So the color of the instrument will not be homogeneous any more. It will now PRODUCE a slightly different color on every note. (Let's name this sound "B")
If you want to listen to it you will have to place yourself somewhere within that room. Depending on where on that room you place yourself the distances from the different walls will deform the sound of each note in a different way. This color deformation will not be homogeneous. For each note, you will now HEAR a different color from the one the instrument produced. (Let's name this sound "C")
But it does not stop there, because you are not listening live, we are making a recording. So instead of your ears, we are using two microphones and some gear to record that sound. Depending on your choice of mics, mic arrangement and gear the recording chain will also deform the sound. This color deformation will not be homogeneous either. So for each note, you will RECORD a different color from the one your ears would have heard. (Let's call this sound "D")
So, what did we do? Our project was about getting as close to "A" as possible. We worked the hall to minimize the differences between "A", "B" and "C". Then we developed a calibration to take care of the rest.
How do we know if we actually got to "A"? We have used our setup to record voice, piano, guitar and drums. These instruments are extremely different from each other. Yet, we have recorded them all the same way. They could have all been recorded on the same take. The fact that the sound quality is transparent across all those instruments means we have been successful on achieving our goal of actually recording that "A" sound (call it "true" sound, "absolute" sound... you name it)

Why would we want to do this?

The main goal of our project was to develop a recording setup that would solve the problems artists face when recording their work. To get an understanding of what these problems are you can read this paper "The performer's place in the process and product of recording" published by Professor Amy Blier Carruthers (Royal College of Music, London) over the 2nd PSN Conference on 2013.
We started working on our setup on 2009 long before that paper was published. Here you can read about our solution: About - PlayClassics, the art of true music