What’s really impressive to me is the lengths that Jim and the organization went to in implementing a permanently-installed archival recording system for this piece of American & Musical history. Unsurprisingly, a ~300 Ton instrument with 28,000+ pipes is capable producing incredible sound levels and wide ranging frequencies… so choosing a recording system that can accurately capture the dynamic range and frequency content was essential.

Now, don’t get me wrong — I love heavy production projects with lots of tracks / overdubbing / editing & clever trickery, but capturing just 3 tracks of a really talented performer who’s doing it live is a real treat… Especially when it sounds this good.

Jim invited me to join him in the control room at the studio which connects to the Wanamaker Organ for the afternoon, to see the recording system, and hear what he’s been doing in this very specifically designed room.

Last night, I had a brief, but nice, chat via video conference with Matt Boudreau from Working Class Audio — I joined in supporting his work via Patreon, and got to have a one-on-one discussion — which was really cool. We talked a little about the kind of work I’m doing, what I’d like to do more of, and a bit about how to approach some of the business of recording, even if it’s not something I am trying to make into a full-time career.