Toronto, Ontario (December 14, 2006)-Production and post-production facility FogoLabs recently re-created the Cowboy Junkies’ memorable performance at Toronto’s Church of the Holy Trinity for an upcoming HD concert DVD, and used Holophone’s H2-PRO to capture the performance. Originally recorded in 1987, the Trinity Session was largely recorded in one day using only one microphone. The new DVD release, scheduled to drop in Spring of 2007, features the Cowboy Junkies with guest performances by Natalie Merchant, Ryan Adams and Vic Chestnut and was filmed in HDCAM SR and recorded at 24-bit/96k.
Holophone’s H2-PRO allowed FogoLabs to realistically capture in 7.1 surround the Cowboy Junkies performance at Toronto’s Church of the Holy Trinity for an upcoming concert DVD.Wanting to match audio with the high quality video, while also staying true to the original recording, FogoLabs turned to Holophone’s surround sound microphone technology. FogoLabs producer/engineer Francois Lamoureux explained, “To be faithful to fans of the album, I wanted to use one mic as the basis to record the band, as was done back in the day. We are in the surround generation now and the choice of surround microphone was easy. I selected Holophone’s H2-PRO because you are able to realistically capture 7.1 channels of audio with minimal setup.”
Instead of being placed in the center, as was done in the original recording, FogoLabs placed the surround mic a little off to the side near the drum section. Additional Shure mics, mostly from the KSM series, were placed close to each instrument to supplement the sound picked up by the H2-PRO.
One of the major obstacles in recording in the church, then and now, was selecting a location where the reverb did not interfere with the recording. The FogoLabs crew moved the entire setup to a slightly different spot than was used in the original recording, resulting in a reverb that was more flattering. The multiple mic capsules (Left, Right, Center, Low Frequency, Left Surround, Right Surround, Top, and Center Rear) and elliptical shape of the H2-PRO were able to capture the full sound the space provided.
“The sound reproduced by the H2-PRO was awesome,” Lamoureux continued. “It picks up the sound the same way your head hears it, resulting in an authentic sound. When we started to mix the audio, the DPA microphone elements that make up the H2-PRO were an asset, because the sound produced is complimentary to the KSMs.”