Instead of playing we did a lot of talking. It began with Robert asking where we hoped to see ourselves in five years. Part of my answer involved having a published article, so he gave suggestions to achieving that. He shared that having support of your work, such as a written statement, from someone established in the field can be quite helpful. This led to him telling us more about his career path. The Other Flute was mentioned, and from there he showed us the manuscript and fingering chart stencils for the rough draft. So much work went into that project.
The subject of recording came up, and we spent a good bit of time talking about microphone setups. One of the most important things for Robert is the type and quality of microphone you use, and the second most important thing is to find the sound of the room. For solo flute recording, Robert prefers a pair of omnidirectional mics, positioned about 7 feet away from the performer. Another option is stereo sound with one mic for each hand, and yet even another option is to have an overhead microphone. Sound travels up, but you don’t want the mic too close to the ceiling, or the sound won’t behave well as it bounces around up there. The big thing Robert suggested was buying foam wind screens to take with you to studios or gigs.
We ended by going through Robert's jaw harp collection.
- Someone on the subway asked if I was okay and then told me to have a nice day. Thank you, humanity.
- Another of Robert’s quotes from class: Life and art happen together
Until next time!