Behind the Scenes of a Legacy Recording with Bob Whitney at Laidlaw Music Centre

Working alongside a seasoned professional offers a rare chance to learn and witness expertise in action. In March, I had the privilege to assist Bob Whitney during the recording of Cedric Thorpe Davie's legacy at the Laidlaw Music Centre. This three-day project was not just about capturing music; it was about preserving a piece of history, honoring a composer and lecturer whose work had been archived for years. The experience revealed the intricate process behind recording an orchestra and the unexpected emotion of bringing forgotten scores back to life.

Preparing the Venue and Setting Up the Orchestra

Our team arrived on a Sunday evening to prepare the Laidlaw Music Centre for the recording session. Setting up took about two and a half hours, a task that demanded precision and coordination. Bob Whitney, with decades of experience, took charge of selecting microphones from a list provided by the college. His choices were deliberate, based on the acoustics of the recital hall and the specific needs of the orchestra.

We were responsible for placing and cabling the microphones according to Bob’s instructions. Although the venue had already arranged seating for the orchestra, Bob decided to move the percussion section from the right side of the hall to the back. This adjustment was based on his experience with similar spaces, aiming to capture the best sound balance for the recording.

Through practice, I've become adept at setting up various microphones for different sections of the orchestra, including DPA 4006, Schoeps cardioid, AKG 414, Audio Technica AT4050, Oktava MK012, Neumann KM183 and KM184, Coles 4038, and Neumann U87. Additionally, I've gained knowledge about stands of various shapes and sizes, DECCA tree, space bars, utilizing a Dante network, cable running, management and coiling, and using hardware such as Stage Boxes and an MTRX location rig.

The control room was located just outside the recital room, accessible through a door behind the conductor’s podium. All microphones connected to a stage box, which fed signals through a hatch into the control room. There, the inputs were routed into our MTRX rig, allowing Bob and the team to monitor and adjust in real time.

Meeting the People Behind the Project

The next day, I met Alan Munro, the driving force behind the project. Alan was a former student of Cedric Thorpe Davie and described himself as “paying his dues” for being a less-than-stellar student. His passion for preserving Cedric’s work was clear, and he had led a Crowdfunder to finance the recording of these long-archived scores.

The St Andrews Chamber Orchestra had been rehearsing the pieces for weeks. Some members were alumni who had played with the orchestra for over 40 years but had never recorded before. This added a layer of excitement and nervous energy to the sessions. The orchestra had already given a short public performance of the pieces, teasing the audience with a glimpse of what was to come.

Bob Whitney’s Approach to Recording

Bob Whitney’s calm and measured demeanor set the tone for the entire project. His acute sense of tempo and attention to tuning issues helped keep the orchestra focused. What stood out was his ability to tackle the score as if it were a book, reading and interpreting it on the spot without prior preparation.

His decades of experience showed in how he managed the sessions. He knew when to push for another take and when to move on. His approach was practical and efficient, ensuring that the recording captured the essence of Cedric Thorpe Davie’s compositions note for note as written on the page, without embellishments or interpretations.

Challenges and Solutions During the Recording

Recording an orchestra is never straightforward, especially when dealing with such emotive material as Thorpe Davie's. The scores were packed with subtle changes in dynamics, tempo and phrasing. Bob’s expertise was crucial in navigating these challenges.

One notable issue was balancing the sound of the percussion section, who in a live setting were used to playing at a certain volume. During the recording they had to play quieter than usual so as not to overpower the rest of the orchestra. The brass section were also forced to play quieter than they normally would in a live performance which took a bit of getting used to. As an accomplished tuba player, it was clear that Bob understood parts of the score that were physically taxing on players and in what way, and any retakes were approached with consideration.

On the first day of recording, conductor Bede Williams realized there weren't enough percussionists to cover all the parts in the score. With all three percussionists occupied with other instruments, the cymbal part for the grand finale was left unplayed. He came to the sound team "behind the curtain" and asked if anyone could step in, and as I am committed to saying "yes" to everything while on this course, I volunteered without hesitation. I can read music well, and it was a simple cymbal part. How difficult could it be? As I headed to the percussion section at the back of the hall, the orchestra applauded, and the importance of my role started to hit me. Although I had played in high school orchestras, a 25-year hiatus meant I wasn't exactly well-practiced. After a couple of tense tries, we successfully got two good final takes for Bob to use. I ended up being called back as a backup percussionist throughout the event. So perhaps I wasn't too bad at it after all!

"There's a fish in the water..."

Another challenge was maintaining consistent tuning throughout the sessions. Bob’s keen ear caught subtle discrepancies, and the orchestra responded quickly to his guidance over the PA. Bede had noticed this of Bob's ear and I could tell he was impressed by his abilities. On the second day of recording, Bede said to the orchestra "Every time we go fishing, there's a fish in the water and we get it out!" I just loved this statement and it sums up Bob's expertise to a tee! The pair worked really well together to get the best out of the orchestra and it was clear from their calm and understanding approach that they had a good working relationship. This attention to detail ensured that the final recording would meet high standards of musicality and technical quality.

The Importance of Legacy Recordings

Projects like this one serve a vital role in preserving musical heritage. Cedric Thorpe Davie’s compositions, some written for films, had been stored away for decades. Without efforts like this recording, much of his work might remain unheard by new generations.

Legacy recordings require more than just technical skill; they demand respect for the music and its history. The collaboration between Bob Whitney, Bede Williams, the orchestra, and the supporting students created a bridge between past and present. It allowed a composer’s voice to be heard again, or for all of us in the room, heard for the first time. Alan could tell the compositions were impressive when he found them, but he wasn't prepared for quite how moving and dramatic they were. It was an emotional experience for Alan; this project had been three years in the making and to have his music played so perfectly and for it to be treated with such courtesy and respect, it was hard not to be moved.

Bede and Bob, the dream team

Lessons Learned from the Experience

Being part of this recording project offered valuable insights into the world of music production and archiving. Here are some key takeaways:

• Preparation is crucial: Setting up the venue and equipment took time but laid the foundation for a smooth recording process.

• Experience guides decisions: Bob Whitney’s choices in microphones, orchestra layout and levels were based on years of knowledge.

• Collaboration: The project brought together students, alumni, and professionals, each contributing unique skills.

• Attention to detail improves quality: From tuning to microphone levels, small adjustments made a big difference.

• Preserving history requires effort: Legacy recordings help keep important works accessible and relevant.

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  Bede Williams and I

  
  

Final Thoughts on the Legacy Recording

The Cedric Thorpe Davie legacy recording at Laidlaw Music Centre was more than a technical exercise. It was a meaningful project that connected the people involved through some quite stunning music. Watching Bob Whitney work and assisting him provided a firsthand look at the dedication and skill involved in capturing a composer’s legacy and I can't wait to hear the final product later this year.