detailed recordings of the fountain, in order to reproduce the sound’s effect indoors as accurately as possible.” Veteran FOH and monitor engineer Penolazzi also has a microphone rental company and explains: “This was the first time I’d mic’d a fountain, so we decided to do several sessions to test the sound. The initial set-up consisted of eight AKG C414 B-ULS large-diaphragm condenser microphones recording the spouts in pairs, and two more in omnidirectional configuration to record the sound of the square. We then repeated the sessions using Sennheiser MKH 40s and lastly used four AKG C451 mics with CK8 capsules to record the details of each spout, such as the water starting and stopping, and the gurgles as it ran off.” Recordings were made from 1am to sunrise, when the pedestrian-only square was at its quietest, using a Millennia Media HV-3D eight-channel mic preamp, RME Fireface 800 and Pro Tools 9.
Native Instruments Absynth 5, Roger Linn’s Adrenalinn Sync and Waves Renaissance Reverb,” he explains. The high-impact installation
Francesco Penolazzi at work in the studio, with Andrea Felli (behind)
“Running Logic Pro 9.1.6 on a Mac Pro, we used the effects bank on the Native Instruments Absynth 5, Roger Linn’s Adrenalinn Sync and Waves Renaissance Reverb”
At Felli’s Farmhouse Francesco Penolazzi
Recording Studio on the outskirts of Rimini, without adding any musical instruments, the pair processed the sounds to create the harmony Michaelangelo referred to. “Running Logic Pro 9.1.6 on a Mac Pro, we used the effects bank on the
featured 14 Sound Advance System BT82i omni-directional enclosures powered by four Proel HP-D 3000 four-channel digital power amplifiers. Eight formed the octagonal ‘virtual fountain’ in the centre of the (blacked out) room, while four others were flown from the ceiling round the room, recreating the square’s environment, and two at the entrance. The signals were routed and controlled via Yamaha DME64 and playback with Logic Pro 9.1.6 and an M-Audio ProFire Lightbridge audio interface. After the event, Felli said: “Knowing of Michelangelo’s love for all things technical, I’d like to think he’d have appreciated the harmonies we created with digital technology.” www.akg.comwww.farmhouse-audio.com