Watched a segment on TV3's Nightline covering Josh’s visit and the project. It was nicely put together - but i found myself wishing the word "classical" wasn’t used quite so much.

I really want to get away from having this thought of as a classical album. But then what do you call it? We’re editing and mixing with an in-your-face approach to the sound, not classical at all. If anything, the sonic concept inspiring the process comes from our experiences of rock and jazz recordings. There’s certainly a solidity and impact you don’t often hear on orchestral recordings.

Recently there’s been a shift of focus from completing the album and DVD, to looking ahead to promotion and marketing. There’s a developing collective commitment to giving View From Olympus a life here and abroad. It feels very much like a convergence of energies from different quarters – Rattle Records, Promethean Editions (publishers), Positively Business Wellington, Creative NZ, and others.

We sent Josh the sax concerto edit hoping he’d feed back ideas on the takes I selected and how they were put together. It was great to hear back from him that he was very happy with the edit and that he’d be fine with it going to disc.

As soon as I spoke with Josh prior to his coming to NZ I knew that if he had any reservations in the recording outcome, they’d be based on reason and be justified. My hope was always that Josh was an active participant in the editing and mixing stages. As I write I’m waiting to hear if Josh has any suggestions for alternative takes at any point in the recording. I’m eager to learn a little about what qualifies as a ‘better’ take for him.

Steve and I have spent another two weeks making final adjustments to things I’ve picked up listening to the last edit, as well as preparing for the mix sessions by pre-balancing the recordings.

Long days. Much of our time has gone into removing extraneous noises (chair squeaks, dropping pencils, bass strings buzzing, violin mutes going on and coming off). What makes it time-consuming is the leakage (of say, a buzzing/noisy bass string) into stage, hall, and neighboring microphones. I’m stunned at the occasional lack of awareness and recording experience demonstrated by some players; it’s almost as though there’s a mentality of [and this is when the red light is ON] ‘if I’m not playing I’m not being recorded’.

But Steve is a guru. What he’s managed to sort out and improve is phenomenal. And the overall punch AND clarity he’s achieved in the sound is exhilarating, breath-taking.