Best Surround Sound Album (Category 94)
David Miles Huber, surround mix engineer; David Miles Huber, surround mastering engineer; David Miles Huber, surround producer (David Miles Huber, Allen Hart, DJ Muad'Deep, Seren Wen, Musetta, Henta, Marcell Marias & Gail Pettis)
Morten Lindberg & Hans Peter L'Orange, surround mix engineers; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Emily Beynon, Vladimir Ashkenazy, Fred Johnny Berg, Catherine Beynon & Philharmonia Orchestra)
Kleiberg: Treble & Bass
Morten Lindberg & Hans Peter L'Orange, surround mix engineers; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Daniel Reuss, Trondheim Symfoniorkester, Marianne Thorsen & Göran Sjölin)
1970 – 1975
Nick Davis, surround mix engineer; Tony Cousins, surround mastering engineer; Nick Davis, surround producer (Genesis) Atlantic/Rhino
Michael Bishop, surround mix engineer; Michael Bishop, surround mastering engineer; Elaine Martone, surround producer (Robert Spano, Atlanta Symphony Orchestra & Choruses)
2L nominated for two
FLUTE MYSTERY and TREBLE & BASS are nominated in the Best Surround Sound Album category this year. Philharmonia Orchestra, Vladimir Ashkenazy, Emily & Catherine Beynon, Trondheim Symphony Orchestra and Marianne Thorsen envelope the listener in a Nordic mood of orchestral surround sound. Both recordings feature music by Norwegian composers.
The Norwegian label 2L now count a total of 7 nominations past four years. The 52nd Annual GRAMMY Awards will be held on "GRAMMY Sunday," Jan. 31, 2010, at Staples Center in Los Angeles and once again will be broadcast live in high definition TV and 5.1 surround sound on CBS from 8–11:30 p.m. (ET/PT).
2L is distributed in the USA by Naxos of America.
Morten Lindberg: We prefer to record in spacious acoustic venues; large concert halls, churches and cathedrals. This is actually where we can make the most intimate recordings. The qualities we seek in large rooms are not necessarily a big reverb, but openness due to the absence of close reflecting walls. Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness; that's the real challenge. A really good recording should be able to bodily move the listener.
This core quality of audio production is made by choosing the right venue for the repertoire, and balancing the image in the placement of microphones and musicians relative to each other in that venue. Planning and discussions with the musicians create trust and a sense of occasion and excitement that translates onto the recordings. What we insist upon in the recording phase is time. We usually spend from four to six days of recording on a 60-minutes repertoire. In credit of the musicians I need to say that this is not in need of getting the score right, but in order to bring forward the right mood and dimensions. At most projects the entire first day is spent bringing the dimensions down from a 1500-people hall to the proximity encountered on a home-visit to your living room. The challenge of this process is to get the volume down, keeping the intensity and energy up, without being intrusive.
There is no method available today to reproduce the exact perception of attending a live performance. That leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician; interpret the music and the composer's intentions and adapt to the media where we perform.