Microphones: The Decca Tree Technique

BY GARRETT HAINES

In the last issue, Bruce Bartlett examined many of the ways to position two mics for great stereo recordings. Although it might seem strange, there is also a cool way to get great stereo tracks using three mics. This method uses a device called a "Decca Tree." In simplistic terms, a Decca Tree is a t-shaped bar that is suspended above a sound source. The bar serves two purposes: to support the mics and to space them a certain distance. In addition to capturing a solid stereo picture, a Decca Tree also provides opportunity to alter the perceived depth and scope during mix-down.

Mouse On Mars: German Electronic Lab Rats

BY STEVEN NEREO

Mouse on Mars have been electronic pioneers since the early '90s, being one of the first bands to successfully create electronic music for the non-raving crowd — one of the more important bands bridging the gap between samplers and indie rock. Jan St. Werner and Andi Toma have been releasing records steadily since the beginning and with their newest, Radical Connector, prove that they are still expanding their sonic arsenal.

Phil Taylor

BY KIM TOUZEAU, JEFF TOUZEAU

For nearly a century, The Astoria has woven its own distinct musical heritage along the banks of the river Thames, just southwest of London. With its lush and leafy surroundings, highly reminiscent of what one might imagine in Kenneth Graham's The Wind in the Willows, the 90-foot houseboat has achieved near mythical status. The Edwardian-style boat, built in 1911 by the finest craftsmen available, has been synonymous with an elite, musically inspired clan of entertainers, musicians and producers spanning multiple generations. Fred Karno, a famous music hall impresario who managed the likes of Charlie Chaplin and Laurel and Hardy, was the vessel's original owner. When he had it built, Karno described it as "...rather an elaborate affair, with mahogany paneling and state-rooms for guests. At night it was lit up with festoons of coloured lights...". Throughout the years, The Astoria was the site of many elaborate banquets and gatherings, whose guests were often entertained by "special amplified orchestras". From 1926 to 1950 it was owned by Vesta Victoria, and then by Sir James Greenwood, who commissioned an orchestra to perform on the Astoria's deck to an audience of over 2,000 moored in small boats and on the far river bank, beneath a grand display of fireworks. In 1986, David Gilmour of Pink Floyd acquired the vessel with the intention of using it as sanctuary for his own composing and recording. The grounds of The Astoria, named after the famous 18th-century Shakespearean actor David Garrick who is credited with helping bring the bard's dramatic genius to the masses, cover one-third of an acre and are breathtaking in their natural beauty. One enters through an ornate tunnel, designed by Lancelot "Capability" Brown. Capability Brown also designed the gardens at nearby Blenheim Palace and Windsor Castle. For almost two decades, Phil Taylor has been the steward and driving force behind the current iteration of Astoria, which is now one of the most technologically advanced recording studios in the world; it is exceptionally unique. Its idyllic ambience is matched only by its technologically superior, hi-fidelity infrastructure. Taylor's own musical heritage includes having been Mr. Gilmour's right-hand man and guitar tech since 1974. He has also handled Pink Floyd's back-line for their live shows since that time. One summer afternoon, I had the privilege of meeting with Phil, who, despite being charged with such a great responsibility, was very gracious with his time. With his easygoing character and down to earth nature, he struck me as someone who had clearly hit a rhythm in his career and successfully married his passion with his natural abilities.

Viet Nam Studios: Gold Records in Viet Nam

BY JON COHRS