CONSERVATORY RECORDING Concert recording came into existence at the Conservatory of Music in the early 1970's as three things came into play: great faculty and student interest in quality sound recordings of their concerts and recitals, the purchase of an Ampex AG-440 audio tape recorder, and the appointment of Dr. James Rothwell as director of recording and electronic music. Rothwell organized a staff of graduate and work-study students trained to create quality recordings of Conservatory events and established a system of archiving said recordings for future use.

Conservatory recording and electronic music grew substantially in its equipment holdings, studio space and staff in the late 1970's as the Performing Arts Center on the UMKC campus neared completion. Tom Mardikes began work as a staff recording engineer in January, 1978 and Dave DeLeersnyder came aboard as staff electronics technician in the spring of 1978. Several studios were now equipped with 8-track, 4-track or 2-track audio recording systems. Machines used were an Ampex ATR-102, an ATR-104, a 3M M79 8-track, a portable StellaVox 2-track, an MCI JH-110 and the old Ampex AG-440. An Audio Design & Manufacturing console in a 16x4x2 configuration served for many years as the recording console for White Recital Hall concerts. An Auditronics 110-8 in a 24x8x2 configuration rested in the multi-track recording studios. Microphones used were exclusively Neumann, featuring SM69s, KM86s, KM83s and KM84s. Rothwell established the M/S stereo microphone technique as the system of choice, and that tradition remains today. Well, we use other systems or make modifications upon the M/S system, but we record primarily using M/S.

Jim Rothwell left the university in 1981, and Tom Mardikes became director of the recording studios. James Mobberly joined the Conservatory faculty a year later and assumed direction of the electronic music studios.

Mardikes moved in time to create a totally professional staff of recording engineers, added several advanced courses in audio recording and music business, and gave the department the identity of Conservatory Recording. In 1981 "Conservatory Consort", a weekly radio show featuring concert recordings by Conservatory faculty, students, ensembles and guests began broadcasts on the National Public Radio network. Produced by Mardikes and Larry Bailey, this program was uplinked weekly to the NPR satellite and was carried by over 60 NPR radio stations across the nation. Greg Mackender served as assistant producer and Scott McDonald was the host of the program.

Scott Gregory, who worked as a student beginning in 1979, joined the staff full time in 1984. Herb Lagoski joined the staff in 1985. Lane Turner worked with us from 1992-1995. Bob Beck began full time work in 1994.

Conservatory Recording records approximately 500 events every year, from concerts, recitals, master classes and audition/demo tapes. Nearly 160 masters go into our archive yearly, which today totals over 4500 master recordings. The collection begins in 1964. From 1964 to 1988 our medium was analog tape, recorded at 7 1/2 ips half-track. Over the years, our levels elevated along with the tape, from +0 to +3 to +6. In 1989 we officially changed from analog to digital, using Panasonic DAT recorders. In 1998 we officially changed from DAT to CDR with the purchase of several Marantz and HHB compact disc recorders. Today we use Taiyo Yuden discs as our masters.

The staff takes concert recording very seriously. They are charged with the documentation of a musical performance that might be the capstone of several years of practice and study. Conservatory Recording makes several thousand copies of events every year. Today we make mostly compact disc clones for our clients, and still some cassettes.

Courses taught by Conservatory Recording are as follows:

Conservatory 202: Beginning recording class. Our largest class with 15-20 students. Covers overview of recording and audio basics.

Conservatory 203: Second course in sequence continues studies of the first semester. More time spent in the studio recording individual instruments and recording first musical groups. Usually 7-10 students in this class.

Conservatory 309: Third course in the sequence adds a new textbook and the focus is upon multi-track recording projects. Usually 5-7 students in this class.

Conservatory 407: Fourth course in the sequence adds another textbook and the focus is upon producing projects, mixing with automation, and some concert recording. Usually 3-6 students in this class.

Theatre 590I: Advanced recording class for the sound design graduate students, may also be taken by undergraduates who have completed the four course sequence. Usually 5-9 students in this class. Repeatable.

Conservatory 423: Music business course teaches copyright law for music and theatre projects, the structures of the music business and record companies, and the licensing of intellectual property. Taken by conservatory students, theatre graduate students and some business and law students. Usually 15 students enrolled.

Theatre 590FA: Hard disk recording class teaches the use of Digidesign's ProTools, Digital Performer, Sample Cell II, and Sound Designer II. Recording sequence required. Usually 4-6 students enrolled in this class. Repeatable.