Translation of the German review:

Guest at the LITTLE BIG BEAT Studios + Studio Live Concert

The LITTLE BIG BEAT Studios in the Fürstentum Liechtenstein are happy to open their doors. In the 45 years of my time as a hi-fi fan, I have never had the opportunity to look so extensively behind the scenes of a recording studio. The visit, which consisted of two parts, brought me many new insights. On Wednesday, October 13, 2021, I, along with my daughter, had an official AAA appointment to meet the studio and its owner, Little Konzett, and conduct an interview. The following Saturday was the studio live session "KLANGLABOR ft. John Wolf Brennan" took place.

One enters the studio through a reception area with three rooms leading off: The spacious recording studio, which can accommodate a band and up to 120 guests, a room with the mixing console and recording tape machines, and the "Magic Room" (see the first picture in the article*), a spacious space for screening music and video material. Imposing is the 360° equipment with 46,000 records (on loan from a collector), which serve not only to enhance the visual appearance but also to optimize the sound of the listening studio. In this relaxed atmosphere I could ask my questions.

Claus: When and how did your studio come into being?

Little: The studio has been around since 2012, arising out of the "necessity" of producing a large big band. In addition to the mastering studios in Austria, which still exist today, there was this studio in the nearby Fürstentum Liechtenstein with an optimal size, which could be taken over. All equipment was overhauled and the rooms optically and acoustically optimized. The analog technology and the digital technology are on the "oldest state of the art." [Author's note: The older technology was preserved as much as possible and only the most necessary modernizations were carried out].

Claus: How did the idea of analog production come about?

Little: Analog means that a very good music signal is produced with very good musicians. You can compare it with photographic technology: With an analog image, all the technical parameters and also the choice of motif must be optimally set and selected before the shutter release is pressed. It can hardly be changed afterwards. The analog film corresponds to the tape. With digital photographic technology, as with music, the result can be adjusted and changed in all parameters with computer programs. Analog work is a craft: sound engineers and musicians have to give their best performance.

Tape is an extremely high quality product and has that magical sound. There is more depth and width. The transients present in the music signal are somewhat rounded off or even "polished", resulting in a good sound for the ear, but also for the heart. However, this does not have to mean that analog is always the best. Transients are definitely retained as well. [Author's note: A transient is a transient in a musical signal, often referred to as an "attack"].

Claus: How do you see the issue of digital versus analog?

Little: The recordings in the LITTLE BIG BEAT studio are always analog and digital. It doesn't necessarily have to be analog. Oldest and newest technologies are mixed. Digital technology is used, for example, to transport the analog. The analog recordings are made exclusively with technology from Studer.

Claus: How do you see the future of digital and analog sound carriers, i.e. CD, streaming, vinyl and tape?

Little: The big vinyl hype has been going on for about 15 years. This product is haptic; it has to be bought as a commodity. You make a decision to buy a work by artists. Vinyl is a store of value. Digital accounts are ephemeral, they are not inheritable. There is a demand for CD. Vinyl and digital are the trump cards right now. With LITTLE BIG BEAT productions, the moving picture is added. But the crowning glory of the production is the analog master tape.

Claus: What is most important to you in the studio, or what are the values in general?

Little: The musicians have to feel comfortable. There has to be good chemistry between the people in the studio. The studio equipment must work perfectly and be well maintained. It's important to respond to the musicians' sensitivities; they have to be able to "let themselves go." I act like an "audio photographer." I capture moments. In the best quality.

Claus: Is there a vision of projects you've always wanted to do that we can expect to see realized?

Little: There is a Neumann record cutting machine here in the studio. It will be overhauled and put to use. With lacquer cuts being made, the complete analog chain will be available in-house: Playing music, mastering, recording, cutting. This will make it possible to produce our own records. My dream is to run my own vinyl pressing plant. [Author's note: At the time this article went to press, the Neumann cutting machine had already been overhauled and was ready for use].

Claus: Many thanks for the interview

In the recording studio, rehearsals were already underway for the following live studio concert. When the musicians had a break, we were able to enter the room and get a first impression of the elaborate miking and the position of the musicians and their instruments. After the band was back, we took a seat in the mixing room. We were able to get an impression of the sound control room as well as the sound of the monitor system. With the console, all 48 channels were active, so my admiration fell on Little Konzett, who held all the strings to success at the same time.

For the Studio Live concert by KLANGLABOR feat. John Wolf Brennan (Tales from Digital Oceans, October 16, 2021), we arrived early to get an overall impression of the evening. The reception was extremely friendly. Over drinks at the bar, it was possible to witness the arrival of guests, some of whom knew each other. The studio staff managed to create a very special atmosphere. The anticipation for the concert increased especially because the studio room, decorated with plants, could be walked in before the concert. By 8 p.m., everyone was seated. Little Konzett started with a humorous speech addressed to the local visitors and also to the participants of the livestream. Already here it made sense to have the Sennheiser HD 280 headphones on. Every seat was equipped with them. The sound was very well mixed and could be heard at a well tolerable volume.

The pieces by the trio KLANGLABOR ft. Wolf Brennan captivated the audience. You see them play and experience the finished recording product directly on your ears. These are special moments of musical closeness.

Currently, this concert is available on vinyl. Visit the studio's homepage, there is much to discover here: https://www.littlebigbeat.com/.

Text and interview: Claus Müller

Photos: Matthias Rhomberg, Amélie d'Heureuse*

Translated with www.DeepL.com/Translator (free version)