Irvine, CA (January 17, 2008)–Swineshead Productions is a classical-music recording/production company based in Berkeley, CA, owned by producer/engineer David v.R. Bowles. Recently, Bowles added a pair of self-powered PMC AML1 Precision Monitors to his compact, 11×15-foot Stereo Control Room.
“My Stereo Control Room–we also have a Surround Room–used to feature monitors that I never believed were telling me what was on the tracks,” Bowles recalls. “They always sounded a little too bright, which I had to ask the clients to ignore. When I started to look for better monitors, I heard about how good PMC’s active AML1s are. The San Francisco Symphony uses them for surround-sound monitoring in its audio control room. I contacted the Symphony’s engineer, Jack Vad, whom I also consider to be a colleague, mentor and friend. I listened to playback of a few of my projects on Jack’s AML1 monitors, and was amazed at the level of detail I heard; yet the overall sound was not bright or fatiguing. I was sold!
“The stereo imaging is superb,” Bowles adds. “And I don’t have the edginess and brightness that I suffered with previous monitors.” The facility is based around a SADiE H64 High-Precision Digital Audio Workstation that offers 64-track editing, and a SADiE LRX2 Location Recording System with companion laptop PC.
“I selected the PCM AML1 two-way monitors for three reasons: firstly, realistic sound; secondly, compact form factor; and thirdly, price point. I couldn’t be happier.”
Formed by Bowles in 1995, Swineshead Productions specializes in high-resolution surround-sound recording production, editing, mastering and live recording for such clients as the Philharmonia Baroque Orchestra, the Houston Symphony Orchestra and the Sacramento Philharmonic. Bowles has over 50 releases as producer and/or engineer to his credit, in addition to many projects he has edited and/or mastered. He has been nominated for several Classical Producer of the Year Grammy Awards.
“The process of sound recording is a creative one,” considers v.R. Bowles, “which allows me to expand my listening perspective beyond ‘front row center’ or the conductor’s podium. There are many challenges I face as a producer and an engineer: different acoustics, different repertoire, changes in ambience, and, in the case of historically informed performances, different instruments played by the same performer. But accurate monitoring is critical. I often switch between monitoring on loudspeakers and listening on headphones; the latter lets me catch background noises and other funnies, as well as ambience changes.”