With the releases of our Jazz keys collection, we decided to sit down with creator Jakob Lindhagen and have a chat about the process.
Hi Jakob, how’s it going?
Hey guys. Yep very well cheers – just super busy touring, performing and recording, things have been pretty hectic but no complaints 🙂
Can you tell us a little about yourself?
Cool OK So I’m a composer, music producer and multi-instrumentalist based in Stockholm, Sweden. I spend my time composing for films, touring as a jazz pianist as well as releasing solo music (previously as Other People and ”…”), on labels 1631 Recordings and Feeder Recordings. I put out my de but LP called ‘Places’ in 2017 as well.
And this is your debut sample pack?
Yep sure is – It came about over the last year. I’ve been busy touring pretty hard but finally got chance to sit down in front of my piano at home and finally just play. I’m super happy with the outcome!
Can you tell us a little about the style of the pack?
So, aiming to incorporate my own sound and approach to this collection, I’ve been inspired by the jazz era of the 50’s when it comes to harmonic languages and structures, and my own penchant for letting the sound of the room and careful delivery of each note being valued over technical virtuosity
Wow so you’d say this was pretty unique then?
Haha hopefully so..
Can you tell us a little about the piano which was used?
It’s recorded on my 1920’s upright J.G Malmsjö piano (that Steinway later modelled their sound from), that being a fair bit larger than the average upright piano gives it a bit of a grand piano quality, and a lovely richness in the bass.
How about microphone techniques? We’d love to know a little more..
To be able to get a very intimate sound, to get all these beautiful creaks, hammer sounds, key strokes etc that makes live piano recordings really become ALIVE, I’ve cut up an old t-shirt and taped the fabric between the hammers and the strings (apart from on the bass register), delicately softening the sound and allowing the microphones to be placed a lot closer.
Mic wise I placed a stereo pair of condenser mics close to the hammers and strings plus a large diaphragm condensor further back to capture the room.
I have also just used the natural compression of tape recording and some very minor EQ’ing afterwards – to both bring out the humanity on the recordings as well as honouring the techniques and conducts of the golden age.
The Touch Loops team.