The art of recording and disseminating music is relatively new. But over the past 100 years, talented engineers have learned to create unique audial experiences that are often as creative as the very music they are capturing.
This is a process Jack Kelly is familiar with. Passionate about sonic production, Jack earned his M.Mus. (2013) and Ph.D. (2023) in Sound Recording at the Schulich School of Music. He is now an Assistant Professor in the Sound Recording area of the Department of Music Research, working on new sound applications for use in Virtual Reality – a new frontier in sound design.
We asked him about his work, his time at Schulich, the future of sound recording, and more. Here’s Jack Kelly in conversation.
How would you describe your work to people unfamiliar with sound recording and music production techniques?
As a recording engineer, my role extends beyond just capturing sound; it's about facilitating artistic expression through technology. I work closely with musicians to understand their creative vision and then employ various recording and production techniques to bring that vision to life. Whether it's in a studio or on location, my aim is to create an immersive sonic experience that resonates with listeners.
Can you tell us about some projects that you are excited for in 2024?
In 2024, I'm particularly enthusiastic about exploring the possibilities of virtual reality (VR) in music production. I'm currently spearheading the establishment of VR studio in the Immersive Media Lab (IMLAB) at the Schulich School of Music, where we'll delve into VR technologies including head-mounted displays, 360˚ video, and game engines, to revolutionize the way music is experienced. This venture will not only empower our students to explore spatial recording and mixing techniques, but also pave the way for significant advancements in how we engage with recorded music.
How has your time at Schulich equipped you for the next steps in your career path?
My journey at McGill's Schulich School of Music has been transformative, primarily due to the invaluable mentorship I've received from esteemed professors and peers. Beyond technical skills, I've honed essential soft skills such as effective communication, leadership, and time management, which are indispensable for success in any professional endeavor. Witnessing firsthand the ethos of excellence upheld by accomplished individuals in academia and industry has profoundly shaped my approach to career growth and personal development.
In what direction do you see the future of sound recording going? Are there any trends or practices in digital studio technologies and spatial audio currently on the rise?
While stereo recordings have long been the norm, the future of sound recording seems poised for a transformative shift towards three-dimensional audio experiences. As technology continues to evolve, there's a growing emphasis on capturing and reproducing sound in ways that replicate the immersive nature of live performances. Spatial audio, particularly in the realm of virtual environments, presents an exciting frontier for innovation. However, it's a complex challenge that requires concerted research efforts to seamlessly transport the richness of live musical experiences into virtual spaces.
What goes into producing a compelling musical experience for listeners? And as of lately, what pieces have impressed you by the quality of their production?
Crafting a captivating musical experience involves striking a delicate balance between authenticity and artistic experimentation. Whether aiming for a faithful reproduction of live performances or leveraging the creative potential of sound recording as an art form itself, each project demands a nuanced approach tailored to the artist's vision. As for recent productions, I would direct listeners toward the Dolby Atmos mix of Kendrick Lamar’s ‘United in Grief’, from his 2022 album Mr. Morale & The Big Steppers (Be sure to listen to the immersive mix!). For an acoustic production, I’d recommend the album Orange by composer Caroline Shaw, performed by the Attacca Quartet (2019).
What are the potential consequences of the evolution of virtual instruments and digitalization on traditional music production? How is the industry adapting to these innovations?
The evolution of virtual instruments and digitalization has undoubtedly revolutionized traditional music production, offering unprecedented flexibility and creative possibilities. While these advancements democratize access to music-making tools, they also pose challenges in preserving the authenticity of live performances. The industry is navigating this paradigm shift by embracing hybrid approaches that integrate digital technologies with traditional recording techniques, thereby enriching the sonic palette while honoring the essence of musical expression. I’m cautiously optimistic.
Given that your field demands acute focus and sometimes long hours, to what extent do you believe that creativity and mental health are interconnected in your work? How do you unwind after a challenging day?
I believe that one’s best work can only come about when one is healthy and fit in both body and mind. I strive to protect down time as much as possible for this reason. Self-care allows me to be more present, engaged, and effective in my work and personal life. Perhaps counter-intuitively, the more responsibilities I take on, the more time I need to commit to rest and reflection to remain on top of things. Unwinding for me often involves walks at night, playing music, listening to recordings, and spending time with my partner and our 18-month-old.
What are some musical works that you think everyone should listen to, regardless of genre?
While this list could be infinitely long, here are my top three of the moment:
‘Lord’s Prayer (live)’ by Cory Henry
‘Ingenue’ by Atoms For Peace
‘What did you mean by love?’ by Vulfpeck feat. Antwaun Stanley
