Michael Bishop (left) and Hiromi
Michael Bishop co-produced and engineered the latest release from composer/pianist Hiromi Uehara, Hiromi’s Sonicbloom: Time Control (Telarc International, 2007). Hiromi is best known for her energetic live performances and for blending musical generes including jazz, progressive rock, classical and fusion.
Bishop, who serves as Telarc International’s senior recording engineer, used two Royer Labs SF-24 phantom powered stereo ribbon microphones to capture the artist’s performances.
“I really like the SF-24 for the presence of its sound,” Bishop says. “For a tune that’s hard hitting, I want the sound to be a bit more forward, without having to add EQ, and the SF-24 is perfect for this. Depending upon the room, I’ll position one SF-24 about two to three feet from the piano [with the lid up], in the piano’s crook, with the pickup looking across the soundboard. This mic serves as my left-front/right-front pickup. For ambience, I like to use a second SF-24 about eight to 12 feet from the piano, positioned fairly high up. These two mics are all I need to get the job done. I should also add that I use Royer’s SF-12 stereo mics much the same way—depending upon the nature of the music and the room where we’re recording.”
Bishop has engineered recordings for The James Gang, Ray Charles, saxophonist Michael Brecker, Dianna Krall, and other widely recognized musicians. He recently received his sixth Grammy Award (Best Engineer, Classical) for his work on the latest Paavo Jarvi/Cincinnati Symphony Orchestra recording that combines the works of Sir Edward Elgar and Benjamin Britten.