The sound of the artist
Musicstry Hall Madrid Truthful Recording Technology TRT Sound

TRT Sound, the world's best sound

Artists spend their whole live working on their technique to produce variations in the sound of their instrument that may seem imperceptible but have a great impact on the musical message. Therefore, in order not to alter this message, it is essential that recordings preserve this sound intact.

The TRT Sound certificate guarantees that the sound of the recording is exactly the same as the sound of the performer.

All our recordings have this certificate. These recordings show the sound of the instruments "as is" (without subtracting or adding anything). The result is a sound with unprecedented naturalness.

Lets make a comparison between methods so we can see how it all works.

Imagine we have been hired to make a series of recordings (four or five recordings of different chamber music ensembles). The person that hired us wants us to make all these recordings in the same venue and always aiming for the most natural sound possible.

Here is what we would do if we were using close-miking:

- Things we do prior to each recording session:

We place one mic for each instrument. We just need to make sure each mic captures the sound of one instrument as independently as possible from the others.

The mic arrangement will be completely different for each recording session (different number of mics, different distances from the instruments, different places within the stage...)

- Things we do after each recordings session:

We should have been able to record each instrument on a separate track. The recording engineer can now treat the sound of each instrument independently without affecting the others. He will try to use everything that is at his hand (limiter, compressor, expander, gate, eq, etc...) to try to make each one of those instruments sound as "good" as possible. I say "good" because here the engineer has no objective way to check if the resulting sound is more or less "true". All he can do is aim for what he subjectively thinks sounds more natural.

Once he has fixed all the tracks he will go ahead and mix them at the mixing table. He will adjust the level and pan (left and right) each instrument separately until he gets a stereo sound and a balance that, again, he subjectively thinks sounds "good".

Now, we could stop at this point, or we could send this final mix to the mastering engineer for further processing. The mastering engineer will treat the sound of this stereo file using everything that is at his hand to try to achieve what he subjectively thinks sounds even better.

Here is what we would do if we were using ambient-miking:

- Things we do prior to each recording session:

We look for a good sounding spot to place our mics. We try several positions that we think are reasonable and listen to figure out which one sounds best.

We should do this for every different ensemble because we might end up using different spots for different ensembles.

- Things we do after each recording session:

We should have been able to capture all the instruments in one stereo track. We cannot treat instruments separately. Anything we do will have to be applied to all instruments at once. The recording engineer will now do whatever it takes to try to make this stereo track sound as "good" as possible. Again, I say "good" because it is still a subjective matter. Different engineers would probably end up at different places.

After this, we could stop here or we could send this files to the mastering engineer so he can again treat the sound just like he did in the previous scenario.

Here is what we would do if we were using Truthful Recording Technology:

- Things we do prior to ANY recording session:

We choose a spot to place our mics in but, at this point, the only thing we should be concern with is image (as if we were placing a video camera). This will be the place of the mics for every recording.

Once we have our mics in place we run tests to determine what we can do to the acoustics of the hall to try to improve the sound at the pick up point. The more resources and time we have the better the results will be but even with endless resources and time we will never completely fix everything. What ever we end up with will be the hall configuration we will use for every recording.

Then we work on an eq filter that will compensate for those things that could not be fixed on the physical hall. We will use this exact same eq filter in all our recordings (this eq filter is what we call the "calibration").

- Things we do prior to each recording session:

We do not have to do anything.

- Things we do after each recording session:

Nothing subjective, just process the recording with the calibration file.

Here you have some samples of different instruments recorded with our methodology:

- Drums.
- Flamenco (voice and guitar).
- Wind quintet (piano, oboe, clarinet, bassoon and french horn).
- Tenor and piano.
- String quartet (violins, viola and cello).
- Soprano and piano.
- Piano solo.

Musicstry Hall Madrid: TRT® sound (calibration 2.0b).

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