26 minute read
MAGIC MIXES
Working in the box
Producer and sound engineer Stephen W Tayler has worked with artists from Kate Bush to Peter Gabriel and his career has spanned technological innovations from early multi-track recording to the creation of audio visual experiences. Emma Clegg goes to Real World Studios in Box to find the man behind the music
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Ihave been learning about multi-track recording from an expert. Multi-track is a method of sound recording that allows for the separate recording of multiple sound sources. First developed in the mid-1950s, each ‘track’ was recorded to its own area on the tape whereby the sequence of recorded events would be preserved, and playback is synchronised.
“A lot of The Beatles’ work was done on four-track, meaning that they could record the band playing on tracks one and two. Then they could add the vocals on track three and maybe some orchestral elements on track four. It was innovative during the 1950s. This was where the art of mixing came into play, because once you’ve added those parts then you have to balance the levels.”
Mixer, producer, composer, sound designer and audio engineer Stephen W Tayler –who works from his studio within Real World Studios, Box (the studio converted and set up by Peter Gabriel in 1988) –was explaining to me how in his career he has seen multitrack recording and other technical innovations completely revolutionise the industry. “When I started in 1974 the industry had just started to use 16-track and it was just about to become 24-track. And the tape was getting wider – originally tape was ¼ inch, then they did eight tracks on one-inch tape and then 16 tracks on two-inch tape and then 24 tracks on two-inch tape.”
As the technology grew, Stephen explains, so did the complexity of the recording. So rather than do all the rehearsal and preparation ahead of time before recording –what used to happen –musicians would go into the studio and experiment and write the music while they were in the studio and recording, with the creative ability to add more and more parts.
“In 1978 they started to synchronise two 24-track machines and then a few years after that digital recording technology came in which still used tape, but now it was the means of capturing the sound. Then there were 48-track machines that recorded on a oneinch tape digitally, and then you had the switch to recording through a digital recording workstation computer (rather than using tape), so recording on to the hard drive. Nowadays the number of inputs and outputs to your system is really as many or as few as you want. I run with eight in and eight out systems. But these days there is no upper limit as to how many tracks you can use. This is why the process of being a remix engineer does require a certain expertise.”
Stephen with an image from Da Capo, projected on him
Photograph by Sadia Sadia
Training and apprenticeship
After studying clarinet and organ at the Royal College of Music Stephen found (fortuitously, by popping in and making an enquiry) a job as a tea boy at Trident Studios in 1974. “The whole industry has changed so much since then,” says Stephen. “When I started and for several years after, you had to use professional studio recording facilities. There wasn’t affordable equipment that people could use in their homes. What’s happened since is that the technology has become available for just about every kind of musician.”
In the era when Stephen was working at Trident, many studios aimed to create their own recognisable sounds. “Traditional studios like DECCA, EMI and Abbey Road used to really try and perfect doing things with a standard method, to make things that sounded smooth and warm and clean. Studios like Trident, however, were all about trying to develop their own identity. By breaking the rules and not conforming to the proper ways of doing things they’d come up with a tougher, more aggressive sound. It was a time where you’d often listen to a record and be able to identify the studio it came from, because of the clarity or the warmth or sometimes the mushy, not very clear sound. Trident would use techniques like putting microphones a lot closer to the instruments so that element was more dominant.”
In the late 1980s and 90s studios started to be competitive in having the same equipment, and as the technology developed, ‘total recall’ was built into mixing consoles, meaning that the settings could be stored and recalled. “That enabled different ways of working where if a record company were not satisfied with something they could say ‘go back and improve that aspect of it’. This was when the sound became more generic. Then later, sounds became more attached to the producer or production team rather than the studio, and people started becoming independent and freelance. That’s why over the years I moved away from being part of a particular company. So now the facilities are important but the focus is on the style of the production team. And that’s what you are trying to do when you’re an independent freelancer like myself.”
Professional collaboration
Stephen has worked with artists such as Kate Bush, Howard Jones, Tina Turner, Stevie Nicks, Bob Geldof, Peter Gabriel and Suzanne Vega, as well as with more eclectic bands and musicians. One of these
The large screen with a digital console that mimics the physical console that a sound engineer uses for mixing –the industry refers to mixing sound recordings using Pro Tools software as ‘Working in the Box’
Photograph by Stephen W Tayler
Stephen preparing for his live show of Da Capo in the Big Room at Real World Studios
is progressive rock band Van Der Graaf Generator, formed in the 1960s. While never achieving sustained success, they were groundbreaking and iconic, known for their dark musical atmosphere and still retain a huge following today. Stephen, who describes their music as “experimental, interesting and brave”, is currently working on a set of theirs for Universal Music with 20 discs – four of them are studio albums where he has created a new mix in stereo and surround sound.
“Historically I’ve often worked with quite eclectic artists” says Stephen. “Working with Kate Bush has been a really important thing for me because she has so much integrity as an artist and never bows to any pressure to conform. It’s just fascinating being able to work with interesting artists, rather than trying to fit the bill of the Top 10. My career has been an engrossing journey even though it’s been through peaks and troughs, because I’ve always worked with really interesting people on interesting projects. And I’ve never got stuck in one genre.”
Alongside major labels, Stephen also works with independent musicians, such as singer songwriter Howard Jones. “When I first worked with Howard he had been signed by major label Warner Music who used a commercial recording studio and I was part of the early production team. Later Howard built his own recording studio and set up his own label. I have probably mixed more work with him over the years since he became independent! So much work is done in a workspace with people who you work with solidly for a period of time, and you get to know them really well and develop these wonderful relationships.”
Stephen’s long experience in the industry has given him the ability to be committed about what is recorded, and he works very decisively in his creative process. “I like to be committed during the process, but I often work with people who like to delay decisions and use a phrase called ‘leave it to the mix’. This is a terrible idea! When we recorded to tape, there was no ‘undo’ button. If you recorded something, that was it – you could record over it but then you couldn’t go back to what was on the tape before it. So I’m glad I came up through that decisive period.
Photograph by Kola Forrester
“A singer now might come in and do 20 takes of a song and not decide which one they want to use, so somebody has to then later on come up with a copy of the lyrics and a different take on each fader and decide which word or which line from each one they want to compile.”
This makes you realise how complex the role of the mix engineer is. “Mixing is like creating a picture,” explains Stephen. “Some people like to give you a technical instruction when mixing; others are more abstract asking for ‘warmer’, ‘harder’, ‘softer’, ‘more dynamic’ or ‘more intimate’ sounds. Often people just trust me and leave me alone to just get on with it!
“Of the musicians I’ve worked with some are highly trained and knowledgeable and some are just instinctive. Not every musician has to be totally schooled and accurate all the time. Sometimes it’s the imperfections in what they do that make them unique.
“Frequently I encourage artists to trust other people who know when they are at their best. Because you might think you want to make that note more perfectly in tune, but the fact that it’s bending in and out of tune is creating emotion and if you smooth it out to be ‘perfect’ you kill the emotion.”
The technology has also brought massive benefits, not least the ability to improve a recording in post-production: “I have worked with a lot of live recordings to mix and quite often you have things that need fixing because there may have been a technical problem or a noise in the crowd and these days you have the technology to enable you to sort it out.”
There’s also the ability to send and receive massive files. In the 1990s Stephen and his partner Sadia, the producer and installation artist, were based in London working on a production for an Australian label. “During the week we’d make an updated mix of what we were doing and then send it on FedEx which would take four to five days to get to Sydney to get the reaction. Now you can send a file instantly for reference. They can also send you all the component parts, video and multi-channel audio, so now I am sent massive quantities of data that used to be delivered on big solid tapes.” A more personal musical expression came into play last September when Stephen released his own personal album Da Capo, an ambitious instrumental suite intended to take the listener on a journey through time, conceived as an audio visual experience and including a CD of stereo mixes as well as a DVD of film poems.
“I’ve spent the bulk of my career as a recording and mixing engineer, with occasional co-production roles and it’s only been over the last 20 years that I’ve done productions of my own.
“I’ve also become more interested in audio visual experiences over the years,” Stephen says. “When I first created Da Capo it was as a surround sound and a visual experience. I was preparing to do a live show and to create an album. So it was all created at the same time to be this experience of the sound field, and the visuals were more like an atmospheric light show than a film or a video. I wanted to create the live experience of being in the room with the sound and vision which were conceived simultaneously.”
One of the tracks called Four Ways to Fiveways was inspired by a car journey one sunny September morning as Stephen was travelling down the main Box Hill road through a tunnel of trees with the light flickering through them. “I already had a bit of a tune running in my head, so I wanted to capture that. So I strapped a camera onto the bonnet of my car and I drove from here up to Fiveways and back and then I used this mirror technique which is actually four aspects of the same image, mirrored. So Four Ways to Fiveways became the track.
Why not experience the journey yourself with a copy of Stephen’s CD/DVD Da Capo? n
Da Capo, £12.99; burningshed.com/stephen-w-tayler; digital download; bit.ly/CherryRedLinks
Photograph by Anil Prasad Stephen in the Big Room recording studio at Real World Studios
A still from one of the videos used in Da Capo showing the gates of Real World Studios The album cover design for Da Capo
This still and the album cover above were created and designed by Stephen W Tayler
EDUCATION NEWS
GOLD AND SILVER
Bath College are celebrating after two of their student stonemasons won Gold and Silver at SkillBuild, a competition delivered by CITB, which is the largest multi-trade skills competition in the UK for construction trainees and apprentices. Gold was won by Lewis Evans and Silver by Kane Frith, both Level 3 Stonemasonry apprentices who have been with Bath College for two and a half years. Lewis’ apprenticeship is with Wolff Stone Ltd in Doulting near Shepton Mallet and Kane’s is with Rowland Stone in Bristol.
Both Bath College Stonemasonry competitors were surprised and delighted with their achievements. Gold winner Lewis said: “It was a tough 18-hour competition shaping some hard Portland stone which created a few blisters, but we’re very happy to come in first and second place.”
Bath College is just one of two colleges in the UK who offer Stonemasonry qualifications. Students and apprentices train in the purpose-built masonry workshop at the Somer Valley Campus in Radstock. bathcollege.ac.uk
JOYFUL EXULTATION FOR CHORISTER
One of Bath Abbey’s choristers, Gavin Phelps, aged 12, has been announced as the runner-up in a competition to celebrate the return of York Minster’s Grand Organ, following a £2m refurbishment of the majestic instrument earlier this year. Samuel Kemp, from Bushey in Hertfordshire, took first place in the 18 and under category of the Grand Organ Composers’ Competition while Gavin’s piece, Joyful Exultation, impressed judges to claim the runner-up prize.
The competition was run in partnership with the Cathedral Music Trust and Banks Music Publications. Gavin’s composition was premiered at Bath Abbey Choir’s A Baroque Christmas concert last month.
Both Samuel and Gavin will receive financial prizes and a masterclass on organ composition with Philip Moore, composer and former York Minster Organist and Master of Music, and Ben Morris, Assistant Director of Music at York Minster.
The competition was judged by a panel of industry experts including New York-based composer Nico Muhly, composer and former York Minster Organist and Master of Music Philip Moore, British composer Roxanna Panufnik, Canadian-born organist, conductor and composer Sarah MacDonald and York Minster’s Assistant Director of Music Ben Morris.
Huw Williams, Director of Music at Bath Abbey where Gavin has been a member of the Abbey Boys’ Choir and the Melody Makers for six years, said: “We are so proud of Gavin’s achievement and send him our heartiest congratulations. The audience were very enthusiastic about his Joyful Exultation piece and he received a well-deserved standing ovation.” bathabbey.org
TEAM BATH ARE ON A ROLL!
Team Bath at the University of Bath have recently reported on a range of significant sporting achievements:
JUDO: Four Team Bath judoka were crowned as British Champions with six medals in total during a weekend of Senior and U21 competition at the EIS Sheffield. There was more success at the National Cyprus Judo Championships in Nicosia as Sport and Exercise Science student George Kroussaniotakis won gold in the -100kg competition. Gregg Varey, captain of the Team Bath High Performance Judo Squad, continued his record of winning a medal at every British Championship he has contested since the age of 11 as he secured the senior -66kg title. Celebrating her first senior British title is University of Bath Sports Performance graduate Chloe Robyns-Landricombe, who overcame fellow Team Bath judoka Sidney Tancock on her way to the -52kg final where she clinched the gold medal.
The national championship results cap an excellent year for Team Bath Judo, which included three judoka – Prisca Awiti-Alcaraz, Ben Fletcher and Megan Fletcher – competing at the Tokyo 2020 Olympic Games.
SWIMMING: University of Bath swimmer Ben Proud won 50m freestyle gold at the FINA World Short-Course Championships in Abu Dhabi. The in-form sprinter, coached by Mark Skimming at the Team Bath Sports Training Village, was fastest out of the blocks in the final and level with Ryan Held at the 25m turn before powering past his American rival on the final lap to touch first in 20.45 seconds. That was just 500ths of a second off the British record Proud set in December while helping Energy Standard win the International Swimming League title and saw him add world short-course gold to the world butterfly and European freestyle titles he had previously won in a long-course pool. This was also the ideal way to end a year that saw him claim 50m freestyle silver at the European Championships but narrowly miss out on the Olympic podium in Tokyo.
PARA-BADMINTON: After a year in which he made ParalympicsGB history, Tokyo 2020 para-badminton medallist Dan Bethell has enjoyed more success after returning for a training spell at the place where his para-badminton journey began, at the University of Bath.
Bethell, who won SL3 men’s singles silver when the sport made its Paralympics debut at this summer’s rescheduled Games, took three titles in the UK Para-Badminton Championships in Sheffield after training with the University’s student squad led by Peter Bush.
He first trained at the Team Bath Sports Training Village aged 10 as a tennis player. After watching the Beijing 2008 Games he was inspired to get into Paralympic sport and joined the Team Bath Futures talent development programme in 2012 and trained through to 2017, when he moved up to Sheffield to train full-time with the national Para Badminton Squad. teambath.com
2022: a year for self-care
‘Self-care’ has become somewhat of a buzzword but there is a much richer meaning to it.
The quote from the champion of peace Mahatma Gandhi, ‘“All the tendencies present in the outer world are to be found in the world of our body. If we could change ourselves, the tendencies in the world would also change…the source of our happiness.”
Working toward’s being the best possible you is a generous act, to yourself and the people around you. Finding inner balance creates balance in your environment. The goal is not to be ‘perfect’ but to be more present, confident, and self-aware. This journey is sometimes tricky, but the path of happiness is deeply fulfilling.
Self-care is more than bubble baths and facials and each person has their own needs and ways of meeting these needs. Gratitude is a good starting point, as is self-reflection and helping others. Self-care is giving yourself permission to be looked after, it unlocks the way for your own inner peace, relaxation, and rejuvenation.
Finding moments of happiness and challenging your own negative thoughts can help reduce your stress levels. Reflecting on your inner-self and finding kindness towards your body and mind enables your higher-self to feel fulfilled and cared for.
Your self-care may involve a walk, creating art, cooking, reading, spending time with friends and family. Having a lovely aromatic scent in your home, such as citrus oils, can be very uplifting.
Learning to live in the moment, letting go of the past and recognising the amazing gifts you bring to yourself and the world around you are important elements of self-care.
Holistic treatments can also help care for your inner being. On February 1st there will be a celebration at The Soul Spa in Bath. Celebrating the Lunar New Year and the first day of Spring, several therapists will be offering various treatments for your self-care. What a wonderful way to start 2022!
For information on the event email heidi@heidireiki.com
Heidi Lerner Rearden 07776 255875 www.heidireiki.com heidi@heidireiki.com
Situated within The Chocolate Quarter, St Monica Trust’s award-winning retirement village, Charterhouse care home is now providing specialist residential care for older people living in Bristol and Bath. Sarah Kritikos, Care Home Admissions Manager discusses what residential care is and what living in your ‘home from home’ is like.
What is residential care?
Residential care at Charterhouse is for older people who need help with daily living tasks, but don’t need specialist nursing or dementia care. This can include personal care, dressing, eating and also providing physical therapy. Residential care is the perfect way to stay independent whilst having the peace of mind that 24 hour support from a dedicated team of care professionals gives.
What is the difference between residential care and nursing care?
Imagine residential care as being more like living in your own home where our care and support staff are there to assist you as you go about your day.
As the name suggests, nursing care is for older people who require nurses to administer medication and treatments for more complex conditions in addition to being assisted with everyday tasks.
What happens if someone develops nursing needs while receiving residential care?
In addition to offering residential care, Charterhouse also offers nursing care and nursing dementia care, so there is the opportunity to move within the wider care home should your health circumstances change.
What is included with residential care?
Residential care at Charterhouse includes support from our trained care workers, all activities in our homes, pastoral care service, physiotherapy, all food and drink, laundry, heating, lighting and phone line rental.
What is a typical day like in a residential care home?
We always make point of saying that there’s no such things as a typical day in a residential care. Providing the right care for yourself or a loved-one starts before admission. The secret is getting to know the resident and their family as well as we do our own and everything we learn about you goes into your care plan.
Our care is person-centred around how each individual resident wants to spend their day. Some of us like a lie-in, while others like to be up to watch the sunrise. Some of us may enjoy eating with friends or you might prefer to eat your meals in the comfort of your own room. However you wish to spend your day is entirely up to you.
There’s no right or wrong answer to this question, as everyone’s circumstances are different. It could be that you reach a point where you are finding it increasingly difficult to live at home, even with support from professional carers, family and friends. Equally, you could be the daughter, son, friend or partner of an older person and you’re realising that you are no longer able to provide the level of support they need or you are concerned about their well-being. Sometimes it could be the result of an unexpected crisis. We also have residents who planned years in advance for when they would like to move into a residential care home and have chosen where they would like to go in advance.
Whatever your circumstances, our friendly and experienced admissions team will answer all your questions to make sure you or your loved one gets the right care.
We are here to make your journey as stress free and easy as possible - helping you every step of the way from your first call to your first night in a St Monica Trust care home.
What is a Naturopathic Diet?
Editorial contribution by the College of Naturopathic Medicine (CNM)
Anaturopathic diet is a highly nourishing diet that supplies the body with all the nutrients needed for health, growth and longevity. It’s free from harmful substances and focuses on optimising the digestion of food, absorption of nutrients and supporting detoxification processes.
The principles of a naturopathic diet
•Eat fresh, organic wholefoods that are in season and sourced locally.
•Consume a wide range of plant-based foods including vegetables, fruit, culinary herbs and spices, whole grains, seeds (sprouts), nuts and legumes.
•Only eat organic, grass-fed meat, poultry or game. Meat is highly acidic so limit your intake to once or twice per week. Fish is fine to eat but ensure it’s wild caught and not farmed. •Healthy fats are essential, especially omega3 fatty acids from wild-caught oily fish, flaxseeds and chia seeds. Omega-3 fats form a vital part of cell membranes, and also support brain function and mood, improve heart health and decrease inflammation.
•Ensure you drink sufficient filtered or spring water as water is needed to regulate body temperature, transport nutrients, remove wastes, nourish joints and cartilage and provide fluid for the production of bile to support digestion.
•Fast regularly to allow the digestive tract to rest and replenish, and direct energy to other parts of the body to heal and repair.
Fasting also promotes healthy weight management and prevents overeating.
Foods and beverages to avoid
•Junk foods are highly-processed foods that are devoid of nutrients and often contain genetically-modified ingredients, artificial colourings, sweeteners, pesticides and chemical additives.
•Damaged oils and fats including margarine, fried fast food, commercial baked goods and refined or overheated oils. The oils promote inflammation and an increased risk of heart disease, cancer and other chronic health issues.
•Table salt is highly refined and contains traces of toxic compounds. Opt for rock salt, sea salt or Himalayan salt in small amounts.
•Processed cows’ dairy is difficult for many people to digest and it contains high amounts of a chemical called insulin-like growth factor. Nut milks, oat milk and coconut milk are better options.
• Soya (unless organic) is often genetically modified and it contains certain compounds that make it difficult to digest. Only eat fermented soy products such as tempeh.
•Coffee (including decaffeinated) as the roasting of the beans and the decaffeinating process produces toxic compounds which are harmful to the body.
CNM teaches the importance of a naturopathic diet that encourages the use of whole, organic and seasonal plant-based foods prepared and eaten in a way to ensure maximum nutrient absorption and optimal health.
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No 1 training provider for Natural Therapies
Visit www.cnmcourses.com or call 01342 777 747
Geoff Don
What an exciting start to the New Year for staff and patients of Bristol Centre for Reproductive Medicine (BCRM) which is opening a new state-of-the-art fertility and IVF clinic at Aztec West.
The move takes them from Southmead Hospital, where the clinic has been based since 2007, to larger premises with completely upgraded facilities where they will be in operation from January.
Patients will benefit from availability of the latest technology, laboratories, equipment and treatment rooms for their IVF and other fertility treatments, with more energy-efficient features and ultramodern theatres to provide best-in-class care.
The 60+ staff team, which includes world-leading fertility experts and consultants, will remain the same with some new additions.
Medical director, Amanda Jefferys, explains the rationale for the move: “BCRM is one of the longest-established fertility clinics in the South West, formed when specialist units from the University of Bristol and Southmead Hospital came together over a decade ago.
“Over the past couple of years it became increasingly clear that we were outgrowing the space at Southmead, so the planning for our new clinic has focused on allowing us to enhance the patient experience, treat a greater number of patients and continue developing and growing as a centre of excellence.”
“When we found the building at Aztec West we knew it would be perfect for us. It has now been completely refurbished to the highest standards to enable us to meet the increased demand for our services and we are absolutely thrilled with it.”
“We have so much more space, with a very large consulting suite for patient appointments, and a larger waiting area which will afford high levels of privacy and comfort for people coming through.”
“The fantastic purpose-built theatre suite also has greater capacity, so we’ll be able to undertake more cycles of treatment.”
“On top of that, we now also have a lovely new suite of conference facilities which will enable us to undertake training sessions for regional health care professionals and our own doctors, nurses and embryologists. Continuing training and development is absolutely fundamental to our success, and we invest a lot of time and money in it.”
“We’re making plans for a new range of services too, such as treatment for broader male and female reproductive health issues, not just fertility issues.”
The new facility has been inspected by the Human Fertilisation and Embryology Authority (HFEA), the fertility regulator, and will be treating both existing and new patients from January.
Both NHS and private patients will continue to be seen, and patients eligible for fertility treatment on the NHS may choose to have IVF treatment with BCRM where currently there is no waiting list. Amanda Jefferys said: “You can choose to come to BCRM as an NHS patient for assisted conception treatment wherever you live in England.” “For those with fertility issues there is often an imperative to avoid a long wait for investigation and treatment, especially as we emerge from Covid which has put such tremendous pressure on all health services, so our increased capacity is really good news for this group, whether they’re needing IVF or ICSI treatment, IUI treatment, use of donor sperm, egg donation, frozen embryo transfer or complex treatments including fertility surgery.” “We treat heterosexual couples, same sex couples and single women, and can help with male as well as female fertility issues. Many people choose us because we have some of the highest success rates in the country, as well as for the dedicated care and support we provide to our patients throughout their whole journey and treatment.”
The location of the clinic at Aztec West, close to the intersection of the M4 and M5 motorways, make it easily accessible and there’s also ample free parking.
BCRM new clinic interior
Further details are available by emailing Quality@BCRM.clinic, or call 0117 259 1159 or see www.fertilitybristol.com
New clinic exterior
