I have a few Sound Liason recordings, all are excellent. No DSD samplers are available, the only way to hear is to buy. I have
Blusey May by Carmen Gomes in DSD256, it is another reference recording.
Blusey May was recorded in DSD256, Frans de Rond explains their process in his latest blog below. The recording is very transparent and Carmen is close miked. If the recording has any harsh sibilance or high-frequency hissing or "ess" sound then the problem it isn't in the recording.
https://soundliaison.com/products/carmen-gomes-inc-bluesy-may
From Studio to Living Room: Preserving the Emotion of a PerformanceBy Frans de Rond, Engineer at Sound Liaison
Every recording starts with one thing: the music.
At Sound Liaison, our goal has never been to create perfect recordings. Instead, we strive to capture something far more valuable: the essence and emotion of a musical performance. Technology is important, of course, but it should always serve the music, never the other way around.
For us, the journey of a recording begins long before the microphones are placed in the studio. It starts with finding musicians and ensembles that share our philosophy. We are always searching for artists who understand the beauty of acoustic music and who are willing to embrace a recording process that prioritizes honesty, spontaneity, and musical interaction.
Whenever possible, we record with a single stereo microphone. The simplicity of a One Mic recording remains one of the most powerful ways to capture a performance. Not every ensemble is suitable for this approach, however. Some instrument combinations require additional support, and in those cases we carefully complement the main stereo microphone with a limited number of spot microphones. The objective remains the same: preserve the natural balance and interaction of the musicians while maintaining a realistic soundstage.
Preparation is a crucial part of the process. Before entering the studio, we spend considerable time discussing the repertoire and making sure everyone understands what lies ahead. This is particularly important for a pure One Mic recording. The musicians know that the focus is entirely on the performance and the moment itself. There are few opportunities for repair afterwards. No endless editing. No assembling a performance note by note.
Interestingly, this limitation often becomes a strength. The concentration increases. The intention becomes stronger. Everyone listens more carefully. The result is a performance that feels alive because it truly is alive.
Sound Liaison One Mic Recording
Today, we record most of our sessions in DSD256. This format allows us to preserve an extraordinary amount of information and makes the concept of One Band & One Mic even more compelling. The transparency and realism of DSD256 help us capture the subtle details that make acoustic music so engaging.
Once the recording session is finished and everyone is satisfied with the takes, we do something that may seem unusual: we put the project aside for a few weeks. We do this intentionally.
Immediately after a recording session, musicians often remember every small imperfection, every note they wished they had played differently. By allowing some time to pass, those memories fade. When the listening copies arrive a few weeks later, the musicians can approach the recordings with fresh ears and a more objective perspective. Often they discover that what felt like a mistake during the session actually contributes to the character and authenticity of the performance.
After the band and our producer, Peter Bjørnild, have approved the selected takes, I begin the editing process. Our edits are generally very simple. Think of attaching the coda from Take 3 to Take 2, or replacing a short section with material from another performance.
The majority of each song remains a single continuous take. Sometimes an entire track is exactly as it was performed in the studio. By keeping the editing minimal, we preserve the natural flow and energy of the music. It is remarkably easy to edit the life out of a performance. We try very hard not to.
Once the edits are completed, we schedule a separate mixing session. This separation is important because it allows us to return with fresh ears.
Mix days usually start early in the morning. Our hearing is less fatigued and our judgment tends to be more reliable. Before the musicians arrive, I prepare a mixing setup that gives us a solid starting point. Usually one or two members of the band join the session. Their input can be invaluable, particularly when it comes to artistic intentions, arrangements, or personal preferences.
Sound Liaison One Mic Recording
We aim to complete a mix within one or two days. The musicians then take the mixes home and listen in their own environment. After receiving their feedback, I create the final mix.
At this stage, it is important that the recording carries the Sound Liaison signature. For us, that means an open and dynamic sound with a realistic stage and a natural sense of space. The listener should feel as though the musicians are performing in front of them, not trapped between two loudspeakers.
When the final mix is approved, I move on to mastering. For us, mastering is not about making the music louder. It is about presentation. I determine the final sequence of the tracks, clean up the beginnings and endings, establish the appropriate spacing between pieces, and prepare all metadata and artwork. The goal is to create a seamless listening experience from beginning to end.
Once all necessary steps have been completed, the final stage begins: conversion.
The original DSD256 master is sent to Tom Caulfield in the United States. Using state-of-the-art software and an extremely careful workflow, he converts the master into all available delivery formats. When the converted files return, I prepare them for distribution, upload them to our servers, and connect the download links to the products in our webshop. At that point, the choice is yours.
Will you listen to the original DSD256 master, a true one-to-one copy of what left our studio? Or will you choose a format that better suits your playback system and listening preferences?
Whatever format you select, my goal remains the same. Through every stage of recording, editing, mixing, mastering, and conversion, I try to preserve the emotion, intention, and musical truth that existed in the studio. If that feeling reaches your living room and allows you to connect with the musicians, then the entire journey has been worthwhile.
Enjoy the music.
Frans
