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Two of these albums are titled Lighthouse and Stonehouse and are from a few sessions during which guitars and bass went direct, typically flat without compression or equalization.
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Undeniably it all starts with the initial recording, which for several of the jazz related projects have been tracked live to a Protools 10 HD2 workstation at 24 bit 88.2 kHz using a Neve 5106 recording console for some microphone preamps as well as various external preamps at La Casa Murada Studio. His collaborations with touch guitarist Markus Reuter, bassist Yaron Stavi, and drummer Asaf Sirkis have left an indelible mark on the improvisational world, all recorded, mixed and mastered with incredible clarity.īreaking down the process, Wingfield walked me through the first steps of microphone selection and placement, onto tweaking and mixing, and finally mastering. Wingfield has a long history of audio engineering and released several solo albums that have led into a futuristic guitar sound unique to his jazz fusion style, including his 2018 album “ Tales From The Dreaming City”which I reviewed last year. I had a chance to recently sit down with him and discuss the process used to create high resolution recordings, for which readers of Hi-Res Edition, like myself, tend to be passionate about. I first learned of the amazing guitarist Mark Wingfield through his releases on Moonjune Records, and subsequently discovered his multiple talents as producer, recording and mixing engineer, along with numerous mastering credits.