close your eyes and fEEl the sound
AudioREC was created by Fernando Arias, musician and producer with extensive experience in the environment of classical music. We produce recordings for labels like NAXOS, DECCA Classics, SONY Classics, WARNER Classics, FARAO Classics or Philartis Vienna
JUST NOW, SONY CLASSICAL RECORDING
JESÚS REINA / FILARMÓNICA DE MÁLAGA
The art of recording requires a very exhaustive study not only of the acoustic conditions of the environment to be captured, but also requires a clear idea of the concept in relation to the sound we want to achieve. In this respect, Fernando Arias, our sound engineer has a wide experience as a classical musician that helps everything to work in a good direction. His collaborations as a sound engineer with distinguished symphonic orchestras, choruses, ensembles, conductors, soloists and music producers, are the proof of his unique talent when transforming a live recording into a memorable sound experience.
If you are thinking of recording your own album call us and we will advise you with all the details concerning the type of recording that you are considering.
One of the most important factors is the choice of a good room depending on the type of music or the type of ensemble, orchestra, chorus, etc. The choice of a good hall ensures a very professional sound as a starting point.
When we face a new recording our priority is to capture the purest and real sound of the instruments, achieving a sound quality at the height of the current music industry.
We use the best ranges of microphones Neumann, DPA and Schoeps. Preamps Millennia and RME. All this under an editing environment to choose between Avid Pro Tools or Presonus Studio One.
We can give you the final master in physical format or DDP
Among the many phantastic recording engineers and artistical supervisors I had the pleasure to work with (Deutsche Grammophon Gesellschaft, Teldec, BMG etc.) Fernando Arias has always remained to be the one of my personal preference. It has been ten years ago, that we have started to record together, and in the meantime there are no less than 10 complete recordings, among them works by Ermanno Wolf–Ferrari (integral orchestral music, sacred music, a cappella choirs and the opera ("Il segreto di Susanna“) as well as Verdis Otello. Wolf-Ferraris violin concerto (with soloist Benjamin Schmid) was awarded with „Preis der Deutschen Schallplattenkritik“ in 2013.
Mr. Arias has in fact "conductors ears“, a perfect feeling for all different styles and formats of music. I look forward to all coming next!
Mr. Fernando Arias is an excellent and reliable sound engineer. Within numerous collaborations he has demonstrated his extraordinary musicality. He is also a highly gifted musician, and his great technical understanding. The cooperation with him has given always big pleasure to me not least thanks to his nice, quiet and humorous nature. I can recommend him in every respect only most warmly.
I follow very closely the recordings of AudioREC and especially the work of his sound engineer, Fernando Arias and I can comment without any doubt that always get a very real and natural sound of everything they record. The work of both recording and editing is truly great.
FRIEDRICH HAIDER (conductor)
JOACHIM KRIST (producer)
ALEXANDER OSOKIN (cello soloist)
recording - editing - mixing - mastering
with the best quality preamps
Horus is one of the world’s most sonically transparent Mic Pre’s.
Horus is also one of the most phenomenal AD/DA boxes on the market.
Horus could very well be the ultimate answer to anyone wanting Analog/AES/MADI interconnectivity in the room they work in. It is a revolution in “bang for buck” technology and has become one of the defacto audio I/O devices for the media industries...
The STT-1 Origin is a collection of Millennia's essential product line combined into one box. You might call it our "greatest hits" compilation.
The STT-1 is a single channel (mono) processing chain with various
signal path topologies (vacuum tubes, discrete transistors, audio transformer, transformerless) all selectable at various functions. The STT-1 offers an entirely discrete, entirely Class-A direct signal path from input to output. The signal path can be variously selected to use vacuum tubes or transistors, transformer or non-transformer coupling. The STT-1 also offers additional monolithic utility outputs. There are (yes, we counted) at least 134 different product combinations available in the STT-1 Origin — ranging from
the most musically transparent, sonically accurate, and dynamically stable audio circuits, to sublime levels of vacuum tube and transformer 'euphony', and everything in between. The possibilities afforded the creative engineer, producer, and musician are virtually endless.
We use different types of microphones depending on the needs. We have a good range of microphones Neumann, DPA and Schopes.
We use different configurations and techniques to achieve our goal, from DECCA TREE, spacing AB, ORTF, etc...
ADAM Audio monitors have earned a worldwide reputation as the pre-eminent tool for sound engineers based on our technological innovations in the field of loudspeaker technology. These advances have helped to define the immediately identifiable sonic characteristics of our loudspeakers: accurate and transparent, with high definition.
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The Barcelona and National Symphony Orchestra of Catalonia presents a new record, recorded last summer, around the figure of Pau Casals. The CD, published by Warner Classics, gathers the spirit of Casals with works by Gaspar Cassadó, Glazunov and Casals himself.
Fernando Arias, sound engineer and editing
Katja Kaminski, musical production
Spirit of casals
Dúo Cassadó have been presented with numerous plaudits and have had praise heaped upon them from the public as well as critics alike.
Marta Moll de Alba & Damian Martínez Marco have performed in some of the most prestigious concerts halls
all over the world from Europe to Asia, from America to Africa and have managed to form a duo that combined a talented cellist exuding warmth and finesse and a pianist of refined sensibility.
Within three years of Wolf-Ferrari’s death the authors of The Record Guide felt able to describe him as “a composer of slender but genuine talent”, who would be remembered chiefly for a few orchestral excerpts from his mainly comic operas. And that was pretty much the concensus view that prevailed for many years, until in the 1980s and 1990s the Marco Polo label and its bargain offshoot Naxos began to explore the forgotten byways of music, and lighted on the considerable output of Wolf-Ferrari that had remained untouched for years by the record companies. The bald statement by The Record Guide that the Italian-German composer had written only “two operas on more serious subjects” was expanded and contradicted by the remarkable discovery of the German-language Das Himmelskleid; two alternative recordings appeared of his pseudo-Shakespearean Sly. We have also been presented with a selection from Wolf-Ferrari’s concert music, which again is far from negligible and displays much more than simply a “slender” talent.
Wolf-Ferrari: Talitha Kumi!
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