Recording Sketches of Seasons: When Less Truly Becomes More

Some recording sessions stay with you forever. Not because everything went according to plan, but because every person involved shared the same vision: to capture something genuine. Recording Sketches of Seasons with pianist Atzko Kohashi and percussionist Eddy Koopman was one of those rare experiences.

The project was initiated by producer Harry van Dalen, whose vision was beautifully simple: make the purest recording possible. No unnecessary processing, no technical tricks, no artificial enhancement. Just outstanding musicians, an exceptional acoustic environment, and a recording chain capable of preserving every subtle musical nuance.

Sometimes the most ambitious productions are built on the simplest ideas.

To push that philosophy even further, we incorporated an extraordinary collection of ultra-high-end audio equipment into the recording chain. Premium cables, carefully optimized power supplies, and Schnerzinger technology were all part of the setup. Schnerzinger products are designed to reduce electromagnetic interference around audio equipment, creating an electrically quieter environment that allows the recording chain to perform at its absolute best. Whether one approaches this from a purely technical or listening perspective, our goal was clear: remove every possible obstacle between the musicians and the microphones. (Schnerzinger)

Before a single note could be recorded, an enormous collection of percussion instruments had to be carried into Studio 2. Drum after drum, cymbals, bells, wooden instruments, gongs, shakers, everything imaginable found its place. Unfortunately, one beautiful ceramic percussion instrument did not survive the journey and shattered before the recording even began. A painful loss, but fortunately Eddy's collection was vast enough to continue.

Once everything was assembled, the percussion setup became an impressive circle of instruments covering virtually the entire audible spectrum, from the deepest bass drum to shimmering cymbals and delicate high-frequency percussion. Every instrument was positioned within easy reach, allowing Eddy to move effortlessly through an extraordinary palette of colors.

The recording setup itself was remarkably straightforward.

The Steinway grand piano was positioned with its lid opening towards the percussion, allowing the sound of both instruments to blend naturally in the recording. We recorded the piano with a single Josephson C700S microphone. The percussion setup was centered around another Josephson C700S, supported by a widely spaced pair of omni microphones to capture the complete soundstage and natural balance of the instrument circle. Two discreet spot microphones provided only gentle support where needed, but what you predominantly hear on the album is the natural stereo image created by the Josephson microphone and the pair of omnis. The philosophy remained unchanged throughout the session: less is more.

Musically, the concept revolved around the four seasons.

Atzko and Eddy had prepared a musical atmosphere for Spring, Summer, Autumn and Winter, but beyond those starting points there was enormous freedom for improvisation. That made every take exciting, even for us in the control room. None of us knew exactly where the music would go.

One of the greatest recording challenges came from Eddy's astonishing dynamic range. His entire percussion performance is played exclusively with his hands, producing an incredibly expressive and organic sound. Within seconds he could move from the faintest whisper on a cymbal to the overwhelming impact of a large bass drum. Combined with an instrument collection spanning almost the entire frequency spectrum, careful gain staging became absolutely essential.

Studio 2 played an equally important role.

Its acoustics allow sound to breathe. Instead of early reflections dominating the recording, the room gives every instrument the space to fully develop before the ambience gently surrounds it. You don't simply hear the percussion, you experience the air moving around it. That natural acoustic space became an invisible third musician during the session.

Perhaps that is what made this recording so memorable.

Atzko shapes every phrase with remarkable sensitivity, while Eddy responds instinctively with rhythm, texture and colour. Both musicians literally create music with their hands, directly from the heart and entirely in the moment. There was a beautiful interaction not only between the performers themselves, but also between the musicians and the recording team.

Harry van Dalen knew exactly what emotional result he wanted to achieve and challenged Michael van Polen and myself to realize that vision without unnecessary complexity. Simplicity, precision and trust became the guiding principles throughout the day.

After many hours of concentrated work, four remarkable performances had been captured.

Years later, I still encounter Sketches of Seasons at the High End exhibition in Munich, where loudspeaker manufacturers regularly use the album to demonstrate the capabilities of their finest systems. Every time I unexpectedly hear those familiar opening notes coming from another demonstration room, I cannot help but smile.

It reminds me why we make recordings like this.

Not to impress with technology, but to preserve a musical moment so honestly that, years later, it still allows listeners to feel as if they are sitting in the room with the musicians.

That is something I remain deeply proud of, and profoundly grateful to have been part of.