Songs
A selection of tunes from "Mira"
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- artist:Jienat
- region:Sápmi
- release year:2010
- style(s):Ethnic, World
- country:Norway
- formats:Bluray Disc, CD (Compact Disc), SACD (Super Audio CD)
- record posted by:Jienat
- label:Jienat
- publisher:Jienat
- buy this record
Links
This is apparently the first world music release to be available on the Blu-ray format, as well as the first world music production recorded in true 5.1 surround sound.
There's a five minute video sampler of the album at
www.jienat.com .
The box contains two discs with the same music:
1. Hybrid SA-CD that will play in any CD player
2. Pure Audio Blu-ray disc, audio only.
The lyrics are in 5 different tongues, of which kildin sami and inari sami are now only spoken by approx. 500 persons each. This disc is apparently the first commercially available release using kildin sami.
The performers include André Ferrari (Väsen), Fredrik Gille (Bazar Blå), the drum group Swing do Pelô, Adama Conde (Mory Kante), Marit Hætta Øverli, Ulvens Döttrar and Eva Jeanette Iversen.
The recording locations were all over the place, but they are all of personal importance– they include:
-Our own recording room and base camp in Hammerfest, 150 metres from the Arctic Ocean
-The front porch of my in-laws in Northwestern Argentina
-The Finnish island church to which my mother and her family rowed the heavy wooden boats across the bay in order to attend service.
-The cobblestone streets of Pelourinho, Salvador de Bahia.
So in the literal sense, this is a global piece of work: the recording sessions spanned the distance from 955km north of the Arctic Circle, to south of the Tropic of Capricorn.
The music is purely acoustic (excluding two tracks using the electric bass). Just vocals, percussion and the Stanley Saw (26 in, cross-cut). We put the microphones up, positioned ourselves in a circle around them, and pressed «Record». No alteration of what the microphones heard. We did overdubs and cuts. When mixing, we removed some unwanted sounds– like the engine of the Russian trawler docked acoss the street from the recording room («Go out to sea and catch some fish or something... please!»). By and large we tried to record the quiet passages between storms and propeller plane take-offs at the nearby «airport».
The music was composed/arranged/recorded/produced/submixed by Andreas Fliflet.
The mix and mastering was done by multi-Grammy-nominees Lindberg Lyd, Oslo.
Technical details (probably of limited interest):
Basically all the sounds on the disc have been recorded by a 5-microphone array, giving all sound sources a physical 3D placement. (There are two tracks featuring electric bass that were not recorded in this fashion, as well as some overdubs done with just 2 or 3 microphones.) Close-miking was only used for the LFE channel. If you hear a voice up close, the vocalist simply walked up to one of the microphones of the 5-mic array, which remained in the same place between overdubs, apart from when changing recording locations. There are lots of overdubs, but essentially with everything in true 5.1. Naturally, this resulted in some hefty track counts. Before submixing, I at times had the equivalent of 300 mono tracks chugging along at 96KHz/24bit.
In the mix, some artificial reverb and subtle limiting were applied. The mixes for the 2.0 versions are done from the source material, not simply downconverted from the original 5.1 tracks.
Recording equipment: DPA 4006/4011/4021 microphones – Millennia HV-3D preamp – Apogee Rosetta 800 converter
SA-CD layer: 2.0 and 5.1, 96KHz/24bit
Blu-ray disc: 2.0 and 5.1, 96KHz/24bit
Further info, video and sounds on www.jienat.com
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Andreas Fliflet has had the privilege of touring with acts like Mory Kante, Arto Tunçboyacyan, Angelique Kidjo and Mari Boine.
He was the first electric bass student to drop out of a Doctorate of Musical Arts degree ever (apologies to New England Conservatory). He is working as an associate professor at the University of Tromsø Music Conservatory.