Gearspace.com

Gearspace.com (https://gearspace.com/board/)
-   Remote Possibilities in Location Recording & Production (https://gearspace.com/board/remote-possibilities-in-location-recording-amp-production/)
-   -   Jürg Jecklin (https://gearspace.com/board/remote-possibilities-in-location-recording-amp-production/1367392-jurg-jecklin.html)

deedeeyeah 6th December 2021 09:11 AM

Jürg Jecklin (1938-2021)
 
1 Attachment(s)
good journey to you, my highly respected mentor and free spirit!

avare 6th December 2021 09:43 AM

One of the giants. May you rest soundly.

esldude 6th December 2021 10:31 AM

Surely we must mention the Jecklin Disc for recording.

avillalta 6th December 2021 02:59 PM

Sorry for your loss. Peace to you

jimjazzdad 6th December 2021 04:26 PM

For those who believe in an afterlife, I wonder what the studio facilities are like?
RIP Jürg.

Plush 6th December 2021 05:18 PM

Sad news here about an audio giant.
Inventor, innovator, visionary.

king2070lplaya 6th December 2021 05:53 PM

I know of him as the house engineer at the Zurich Tonhalle for a period and as the inventor of the disk, but I don’t know much about his recordings. What are everyone’s favorite discs recorded or produced by him?

Sorry for your loss Deedee, I know it must be difficult to lose a great teacher.

deedeeyeah 6th December 2021 08:14 PM

a personal and definitely incomplete appreciation
 
i don't think it's an exaggeration to say that jürg was not only an inventor and a brilliant sound technician, but the godfather of swiss radio engineering/broadcasting.

i don't know what title he officially held but in his unchallenged position as chief technician, he directed thousands of recordings/broadcasts - whenever something threatened to become technically complex or the careful handling of inflated egos decided on the success or failure of a recording/broadcast, jürg was in charge of the undertaking - i assisted him (on and off) between 1978 and 1993 on countless projects, mostly here in basel, in a hall/venue (with excellent acoustics) which is now getting used for live shows and in which i get mix live quite often.

___


besides recording (or also broadcasting? i don't recall) the berliner philharmonikern (in the old, long demolished congress house in lucerne), directed by herbert von karajan, or broadcasting in quad (sic! swiss radio used two of their programs) i think the most ambitious recordings that jürg probably made - if they still exist - will never be played again, because they were never made for public release:

to understand this, it is important to know that basel is the seat of two well-know internationally operating pharmaceutical companies, one of whose heirs was a patron and conductor who could afford to commission works from leading composers; amongst others, these included stockhausen, boulez, nono, scelsi etc.

the recordings/mixes were, of course, entrusted to jürg - he was then ordered to take the tapes (and the accompanying tape machine) to a fancy salon to show them to an illustrious circle of wealthy enthusiasts whom the patron gathered around him...

in short: an official discography will never come close to covering jürg's work, much less his sphere of influence!

___


p.s. i admit i had a crush on his daughter...

Dave_Ionic 6th December 2021 08:22 PM

sorry for your loss R.I.P I saw the name in the post and immediately knew, It was that person.

studer58 7th December 2021 08:24 AM

Let's not forget Jecklin's contribution to headphone listening, with one of the first electrostatic models. Not exactly IEM's or earbuds, they obviously had great strengths and some practical limitations...they certainly raised the bar on playback expectations, and made a "marketplace statement" on release !

https://www.stereophile.com/content/...tic-headphones

https://medium.com/museum-of-portabl...s-c28e5e4fddb2

Float on, Jürg Jecklin...

deedeeyeah 7th December 2021 12:22 PM

Quote:

Originally Posted by jimjazzdad (Post 15753832)
For those who believe in an afterlife, I wonder what the studio facilities are like?
RIP Jürg.

who knows...

there were no big surprises on this side: european tube mics and studer throughout (desk and tape machines) - although: it may come as a surprise to some folks that jürg until the late 80's used lots of tube ldc's for recording of classical music, in fact, almost exclusively...

in the studio i had soldered a number of patchbays for the connection of tube microphones and hidden their power supplies in recesses in something like a surrounding sideboard, above which there are high adjustable wall panels which are reflective on one side and absorbent on the other - the whole studio can be imagined as a huge lede design (not the control room, but the recording room!) with adjustable/variable acoustics.

it was more practical considerations and criteria of ease of use and reliability that determined the transition to the use of modern sdc's in later years - i do still have a u67 from the 'pre-modern area' though!

at the same time, jürg was very much into modern gear and techniques: it was in the same studio where we tracked to mitsubishi and sony (and later studer) digital tape machines as soon as they became available! (btw: they were not provided by the radio but acquired by the aforementioned patron)!

[he built a tube preamp for one of his students with whom i played in a prog rock band: for free - because he was convinced, after hearing her play, that a violin could or should sound better, even in this stylistic environment...]

also worth noting that jürg was a big proponent of quad at the time and he was highly interested in surround formats which emerged over the years, starting with the soundfield mic/ambisonics.

___


i'll go to the venue this afternoon...

[to take me back in my mind to those first hours, when my drum teacher dragged me to the studio for recordings, so that i could turn over the notes for him while he was busy tuning the timpanis - that's how i first came into contact with jürg, who immediately entrusted me with further tasks and took me under his wing, even if it was originally only because he wanted to prevent me from doing something nonsensical while i was waiting for my further assignment for my drum teacher!]

...to take some pics in it's current state (and shall post here) - too bad it hardly gets used as a studio for recording of classical music anymore but luckily, there's still music getting played in there!

___


in the past decades, i was able to observe some of the greatest modern composers and interpreters of classical music and contribute a tiny part under the aegis of jürg - today i am solely responsible for the sound design when live mixing of some of the greatest musicians of jazz:

i know myself standing on the shoulders of a giant!

(two giants actually: my other mentor jürgen krämer, whom i assisted with live broadcasts of the immensely popular european combined tv- and radio programme 'rockpalast', has unfortunately also passed away, albeit several years ago)

deedeeyeah 7th December 2021 05:00 PM

5 Attachment(s)
...so here are some recent pics of the place where my journey in our business started with jürg's help in 1978.

___


- the first pic shows one of the wall panels (roughly 6m high).

- the second pic shows the rear of the hall where the orchestra was mostly positioned for recording (not on the stage!); the choir was occasionally positioned on the balcony (mostly to get some much desired separation between the choir and the orchestra without having to adjust mic technique and positions much).

- the next pic obviously is the view to the stage (ca. 15m wide).

- the seemingly meaningless photo of tape on a cloth-covered wall besides a light switch is from the control room: not exactly at this spot, but somewhere else (presumably on the back wall, where the tape machines were) was where jürg had removed insulation material with a knife in order to stick it on an lp - which can be considered (one of) the first prototype(s) of the well-known jecklin disc!

- the last pic shows two generations of old patch panels which allowed signals to be distributed across the venue (stage left/right/balcony, side panels front and rear, front of stage, control room (even to two reverb chambers in the olden days...)

avare 7th December 2021 07:10 PM

Thank you for sharing with us Deedeeyeah.

deedeeyeah 7th December 2021 09:17 PM

3 Attachment(s)
¡de nada!

even though i started this thread - deliberately not in the forum of obituaries and acknowledgements - i would like to point out that i do not claim any interpretative authority over jürg's work in the studio "burgvogtei":

i was in the building for the first time during the lifetime of karl jaspers and albert hofmann - to name two other people, in addition to jürg jecklin, whose impact radiated far beyond the city - but i have no recollection of this (which saddens me a little, especially as i later studied philosophy) and then again shortly before the completion of extensive renovation work, which means that I only know the first 600 years or so of the history of the building from the city chronicle...

...and thus just as fleeting as a large part of jürg's work, which he had also brought to fruition in many other places and which deserves to be remembered long after his professional activity and lifetime!

___


in this sense (i.e. without my recollections being able to convey a complete, but a very personal picture), here are a few pics of equipment related to jürg and the volkshaus that have remained with me.

- the first pic shows of an older calrec on a newer disk - it was the first condenser mic i bought; maybe for this reason (nostalgia) i still like it a bit (and more than i ever liked the km84).
jürg was very much into experimenting to check the content of ideas in the practical environment: this included the use of cardioid mics on the disc even though this setup was rarely used and definitely not 'canonised'!

- the studer-labelled schoeps was often 'misused' as a talkback mic; a tradition i maintain, albeit with a much more modern studer digital desk...

- the u67 was badly damaged after a fall and jürg had left it to me decades ago: today (thanks to the excellent work of peter drefahl) it is in pristine and virtually mint condition and continues to serve me and a number of artists well.

deedeeyeah 8th December 2021 12:59 PM

p.s.
 
memorial ceremony is on friday, 10 december (14h at the cemetery daleu in chur, switzerland)

if you cannot come to the northern foot of the swiss alps, maybe play some fine music to pay reverence to him...

OSS_DPA4006 29th May 2022 09:32 PM

I just learned of Jecklin's passing, and I wanted to leave this little wreath here, because I have learned so much from his writings and theory.

This is a snippet of an OSS recording I just did of a large symphony orchestra with chorus and soloists in a live performance in a 2000-seat concert hall. There has been no processing of the audio whatsoever.

Thanks Jurg.

https://drive.google.com/file/d/1V0H...ew?usp=sharing

avare 29th May 2022 10:19 PM

Quote:

Originally Posted by OSS_DPA4006 (Post 16020077)
I just learned of Jecklin's passing, and I wanted to leave this little wreath here, because I have learned so much from his writings and theory.

This is a snippet of an OSS recording I just did of a large symphony orchestra with chorus and soloists in a live performance in a 2000-seat concert hall. There has been no processing of the audio whatsoever.

Thanks Jurg.

https://drive.google.com/file/d/1V0H...ew?usp=sharing

Thank you.

M50k 31st May 2022 09:21 PM

1 Attachment(s)
Quote:

Originally Posted by OSS_DPA4006 (Post 16020077)
I just learned of Jecklin's passing, and I wanted to leave this little wreath here, because I have learned so much from his writings and theory.

This is a snippet of an OSS recording I just did of a large symphony orchestra with chorus and soloists in a live performance in a 2000-seat concert hall. There has been no processing of the audio whatsoever.

Thanks Jurg.

https://drive.google.com/file/d/1V0H...ew?usp=sharing

"No processing", but no spots either - just the Jecklin?

Terrific overall balance and placement - but as with all unprocessed head-spaced omni pickups, it's quite mono in the low frequencies. Here's a clip with a bit of LF shuffling:

OSS_DPA4006 31st May 2022 09:59 PM

Quote:

Originally Posted by M50k (Post 16023057)
"No processing", but no spots either - just the Jecklin?

Terrific overall balance and placement - but as with all unprocessed head-spaced omni pickups, it's quite mono in the low frequencies. Here's a clip with a bit of LF shuffling:

That's right, no spots, just the 2 DPA4006A diffuse-field-grid omnis, with Jecklin's 2004-spec spacing and sound absorbing pad.

You're absolutely right about the very low frequencies, and I always thought that was insurmountable, but you've totally convinced me, and now I really want to learn about LF shuffling!

M50k 1st June 2022 01:28 AM

This is what I did (in Audacity):

- Duplicated the track.
- Low-passed the duplicate at 500Hz (crunch the numbers using your exact mic spacing/disk dimensions to fine-tune the fr).
- Inverted this track.
- Swapped the L/R channels of this track.
- Mixed it with the original track at -10dB (just by ear till it sounded 'right').

esldude 1st June 2022 05:53 AM

I've done something similar on the low end shuffling with Jecklin disc recordings. In principle it is much like the shuffling process for Blumlein recordings with crossed figure 8's or other Mid-Side recordings. Like in this Michael Gerzon article. Works with other closely spaced stereo techniques too.

https://www.audiosignal.co.uk/Resour...uffling_A4.pdf

M50k 1st June 2022 06:11 AM

I've always like the term "Spacial Equalization" used in that paper.

Many of my recording notes have "SEQ" in them to indicated if it was applied during the recording or not. Many years ago i built a custom version of the Crown SASS (as a pair of BLMs, rather than PZMs, and with non-resonant, solid maple boundaries), and a purpose-built mic pre for it with Spacial EQ built in.

BTW, the Linear Phase EQ plugin that I posted in this thread: Linear Phase EQ for Classical mastering?, has a shuffler, or 'SEQ' built in. It's the knob labeled 'Center'; turning it CW narrows the image gradually to full mono ('M'), and rotating CCW widens it gradually to full L-R ('S'). The switch to it's right determines if the control affects the full frequency range, or just those below the frequency selected from the drop-down that appears when the label below the switch is clicked. So for LF shuffling, just select the frequency desired, and turn the knob CCW to the desired degree of LF widening.

M50k 1st June 2022 09:03 AM

2 Attachment(s)
I decided to make the shuffler it's own little plugin.

studer58 1st June 2022 09:40 AM

Quote:

Originally Posted by M50k (Post 16023795)
I decided to make the shuffler it's own little plugin.

That's a nice standalone unit...simplified but similar in effect to the Waves S1 Stereo Imager:

https://www.waves.com/1lib/pdf/plugi...reo-imager.pdf

OSS_DPA4006 1st June 2022 05:23 PM

Quote:

Originally Posted by M50k (Post 16023795)
I decided to make the shuffler it's own little plugin.

WOW!!! This is so unbelievably helpful, I have no words, other than THANK YOU! You have opened a door to a new domain of audio signal comprehension that I will definitely need to study more to understand. I had already started reading the 1986 Gerzon paper while glancing at an old graphic equalizer in semi-despair when you posted these fixes. I will most definitely use your Shuphle plugin, and I will keep reading to get a better idea of what it can do.

PS, BTW, I had the opportunity to empirically test your "LF shuffle corrected" sample against the original sample with 5 naive listeners, with a unanimous result: 100% of listeners preferred your LF shuffled version based on ability to hear "more detail in the bass."

M50k 1st June 2022 05:26 PM

Yes - thanks to esldude for posting that paper -I read it years ago, and it was a real eye-opener.

deedeeyeah 1st June 2022 05:45 PM

possibly a useful tool (cannot comment as i'm mixing on desks and outboard - and i'm using apf's for phase adjustment).

pls note that jürg was first and foremost a 'radio engineer'! much of his (intial) thoughts about mic techniques (and processing) were aiming at achieving results which would survive typical (mono and later) stereo fm processing (even quad at some point...); so mono-ish lf (typical to any mic technique with narrow spacing) was a feature, not a bug!

for the same reason, jürg rarely used his technique (which he only later called 'oss') for album production or if so, oss was set up as an alternative main mic system with another mix fed to a another (actually a third) studer 2-trk; quad bus desks (or desks with multiple main buses) made this a relatively simple task...

___


i generally don't like spaced drum/percussion overheads much but occasionally i'm using a disk on some setups (if not using a modified gj/equidistant l/C/r+kick setup)...

M50k 1st June 2022 05:59 PM

Simon Eadon used the Jecklin as mains on many a commercial classical (chamber) release - I've often wondered if he ever did any shuffling on them.

deedeeyeah 1st June 2022 06:41 PM

an fft will tell you... - imo there's nothing 'wrong' with a more narrow/mono-ish lf (for a variety of reasons); it's either a result of the mic or then the processing technique being used - and above all, it's a matter of taste.

(i was merely reporting my experience assisting jürg)

M50k 3rd June 2022 02:41 AM

1 Attachment(s)
Here's the plugin in 32bit, if that's easier for anyone.