Red Hot Chili Peppers

Sekant pritrenkiančio pernykščio Red Hot Chili Peppers gyvo įrašo „Live At Slane Castle“ pavyzdžiu, Sanctuary Mobiles vėl čia pat įrašinėjo tris grupės naktis Haidės parke (Hyde Park), kai jie du birželio savaitgalius grojo 90 000 žmonių miniai per vakarą.

„Live At Slane Castle“, kuris tapo vienu geriausiai parduodamų 2003-iųjų metų DVD įrašų, pastūmejo priimti sprendimą dar kartą eiti tuo pačiu keliu. Taigi, naujasis Red Hot Chili Peppers albumas „Live In Hyde Park“ buvo išleistas liepos 26 dieną Europoje, Australijoje, Japonijoje ir Naujojoje Zelandijoje. Atrodo, jog pirmasis oficialus grupės gyvas albumas, kuriame yra 27 kūriniai, išdėstyti dviejuose kompaktiniuose diskuose, reklamuotas dar prieš įvykstant koncertams, taps klasikiniu, iškart po išleidimo iššokdamas į pirmąją vietą Jungtinės Karalystės albumų čartuose.



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Once again the Sanctuary Black Truck (Fleetwood One) was used, with four MTR90s whirring away throughout all three gigs to provide a 48- track recording setup with full back-up. Tim Summerhayes, Sanctuary Mobiles' recording supervisor, kept the signal path as short as possible without compromising the recorded quality. The remote controlled API mic amps fed the signals direct to the tape via the truck's 96-channel Euphonix console where a little EQ and processing was added where needed. With tapes running at 30ips, a vast quantity of stock was required, resulting in Quantegy cutting and shipping the reels to the UK especially for the project.

"We always use 2-inch analogue in the recording studio with the Chilis; they love the sound, as do I," says the band's studio engineer Ethan Mates, who also works extensively on their live material. "The 'Live at Slane Castle' DVD was a surround sound project put together from just one show, so I ended up transferring the analogue masters into Pro Tools to have an easier time conforming to picture. However, as the Hyde Park shows were for an audio-only release, sound quality became a larger priority than in the past. To this end we recorded to 48 track analogue in the Sanctuary truck, using not only the Chili Peppers' normal stage mics but also several extras I hired to better recreate some of their studio sound."

After the shows, Mates returned to Los Angeles to mix them - again entirely in the analogue domain - using an SSL G series console and printing to Quantegy GP9 1/2-inch tape. The final masters were assembled from his 1/2-inch mixes at Bernie Grundman Mastering in Hollywood, also completely avoiding any computers, and transferred to 1630 tape for duplication at the plants. The whole process took just three weeks from showtime to delivering the masters to the duplication plant- an incredibly quick turnaround time made possible only by the Chili's amazing performances.

"I had really enjoyed working with Tim and the Sanctuary truck and crew for the Slane Castle project, and discussed with him how refreshing it was to be using analogue on a live record, so they were the obvious choice for the Hyde Park shows," says Mates. "Their work is top-notch and totally professional - all the tapes sound great, lock together, don't have dropouts, etc. The band don't soundcheck prior to the show, so all Tim gets is a quick linecheck from the crew to make sure the mics are working etc, and there's no chance to get proper sounds or levels until the show starts. To get a great sound under these conditions is quite difficult, and really proves Tim's skill level as well as that of his whole crew."

Despite, and also because of, the ever-evolving amount of digital formats available, Sanctuary Mobiles feel very strongly that analogue should not be overlooked in live recording situations.

"There is still no multi-track format which can compete with the sound quality of an analogue recording, let alone the longevity of one," says Sanctuary Mobiles' general manager Ian Dyckhoff. "In terms of audio quality, analogue tape still sounds great and can add so much depth to a recording, and you can definitely hear the difference. It pays to think about what analogue can add to a recording project, and especially how it can future-proof the material; perhaps it should be thought of as money in the bank."