From Scratch - Another Quiet Night / Berliner Meister Schallplatten

The remarkable experiment is being expanded. Berliner Meisterschallplatten is releasing previously unreleased tracks from the successful 2024 'Quiet Night' sessions by the quartet 'From Scratch' on one LP, titled 'Another Quiet Night'.

The first two releases in this series are available under catalogue numbers BM2419 and BM2421. What makes these releases special is that the same pieces were recorded in two sessions in the same room, but with two different microp

hone setups and room arrangements. One was recorded using a full-stage stereo setup and the other using a one-point Blumlein setup. The result is a different sound, performance and feeling. Side A of 'Another Quiet Night' features the

four tracks in full-stage stereo and side B in one-point Blumlein.

This is a rare opportunity to hear how different microphones and setups can change the sound and interpretation of a recording, either subtly or not so subtly. Usually, only sound engineers, record producers and artists hear these differences

when deciding how to record a session. This time, however, you, as a record buyer and listener, are involved in the process. You can compare the two recordings and hear the differences. Since both sessions were recorded as direct cuts, with

no tape or digital recordings, but rather by cutting the music directly onto the turntable, you will experience the sound as closely as possible to that heard by the musicians and recording team in the studio.

Producers Stephan Flock and Rainer Maillard explain the One Point Blumlein setup: 'Two Sennheiser MKH30 figure-of-eight microphones positioned at a 90° angle (the original Blumlein setup) provided a good balance and perspective of the piano,

drums and saxophone. However, the double bass could not be placed close enough to the microphones without disturbing the other instruments. To achieve the desired volume, proximity and depth, we placed a Sennheiser MKH20 (omnidirectional)

microphone under the double bass's bridge. By standing as close together as possible with their instruments, the musicians were able to hear each other better. However, the microphone was further away from the sound sources and the result was a

different sound quality — more old-fashioned, relaxed and less strenuous.'

Statement on full-stage stereo recording: The setup includes two Neumann KM140s as drum overheads, an Audix D6 (cardioid) microphone for the bass drum and a Neumann KM140 microphone for the snare drum. There are four microphones for the

piano: two Sennheiser MKH800s (cardioid) near the hammers and two DPA 4006 omnis above the soundboard. One Josephson C722 (dual cardioid, back-to-back) is used for the saxophone. For the double bass, we used one Sennheiser MKH20

(omnidirectional) microphone under the bridge, as well as a piezo pickup in the bridge. We left some space between the instruments and set up screens around the drums to better separate the microphones. Close miking of the individual instruments,

combined with some natural reverb from our reverb chamber, resulted in a wide, dense yet airy sound.'

From Scratch:

Simon Becker-Foss (Saxophon), Helge Adam (Klavier), André Neygenfind (Bass), Dieter 'Zipper' Schmigelok (Schlagzeug)

Title

Side 1

Full Stage Stereo

1. Memories of Tomorrow

2. Con Alma

3. When I Fall In Love

4. A Child Is Born

Side 2

One Point Blumlein

1. Memories of Tomorrow

2. Con Alma

3. When I Fall In Love

4. A Child Is Born