introduction to professional recording occured in 1977 when I was commissioned
to compose and perform music for four documentary films in Israel. I later
proceeded to record my own songs and compositions, becoming much more involved
in the technical side of the studio and using it as an additional tool
in the music-making process. An introduction to synthesisers in 1979 provided
me with a solid background in the physics of sound.
As early as 1981 I was mixing my own works, and by 1984 I was freelancing as a session musician, music arranger, synth programmer and music technology consultant, recording engineer and producer.
1986, I was approached by the New Social Association for Arts and Culture
in Israel to design, construct and operate an advanced 32-track recording
studio. Named Keshet Studios (Rainbow or Spectrum in English), the
facility became one of the most advanced commercial studios in Jerusalem
and played host to a large number of prominent Israeli musicians and bands.
Through public funding, the studio provided a foundation for many underpriviliged
musicians who could not afford full studio fees.
I held the positions of Senior Studio Engineer and Technical Manager from the studio's outset until 1992, producing and engineered a large host of recording projects. In 1992, I turned to freelance production and engineering, using Keshet Studios as a home base, broadening my recording activities to include location recordings - particularly of classical and early music, folk and world music, film soundtracks and audio for theatre.
moving to London in February 1999, I have become well established in the
world of recording production and engineering. I currently provide regular
recording production and engineering services for Sir
Peter Maxwell Davies' own label MaxOpus,
Hall Community and Education, The
Wagner Society, Restoration
House Fortepiano Recitals.
I work regularly with a number of contemporary composers: Peter Fribbins, Robert Hugill, Brian Inglis and Julian Philips and others,and have engineered recordings of performances by The Allegri Quartet, Sir Thomas Allen, The Brodsky Quartet, Susan Bullock, Imogen Cooper, Jill Crossland, Nicholas Daniel, Julius Drake, Endymion, The Eroica Quartet, James Gilchrist, Chloe Hanslip, Rolf Hind, Steven Isserlis, The London Sinfonietta, Charles Owen, Andras Schiff, Melvyn Tan, Ayako Uehara, Ashley Wass, plus many others.
I also teach sound engineering and music technology, and provide training in introductory and advanced recording production and engineering on a private basis.
recording Max's Revelation and Fall, Blind Man's Buff
and De Assumtione Beatae Maria Virginis, performed by
the London Sinfonietta, cond: Oliver Knussen, April 2005.
(Photo: Judy Arnold)
As of 2005, I have been a member of the Association of Professional Recording Services, a trade association which represents recording studios, individual audio professionals, mastering and post production facilities, pro-audio manufacturers and suppliers.
I was elected to the board of directors of the APRS early
2008, and in the capacity of my tenure, I am responsible for organising
professional events and technical showcases, as well as representing my
sector of independent professionals and freelancers on the board of directors.
APRS President, Sir George Martin
(Photo: Peter Filleul)
director Peter Filleul and Beatles engineer Geoff Emerick.
AES, Amsterdam, May 2008. (Photo: Francesca Smith)
enquire about a recording or to book a recording,
Email me at Gilead.Limor@gmail.com
©2001-2008 Gilead Limor, All Rights Reserved