Limited to just 150 pairs, the 2-way active stand-mount design is finished in a stunning high gloss lacquer in the ATC company dark blue. Complementing the cabinet, the front baffle is hand-upholstered in royal blue full-grain Napa leather by German leather specialists Eissmann. The exterior alloy components feature a silver anodised finish in striking contrast to the blue lacquer and leather of the cabinet and baffle.
SCM20ASL Limited Edition leather baffle and driver detail.
The SCM20ASL Limited Edition continues ATC’s philosophy of combining the best in-house loudspeaker drive units with matched on-board active amplification for optimal fidelity. The new model integrates a 2-way active system, previously only available in a floor standing model, into a smaller stand-mount cabinet. The SCM20ASL Limited Edition features ATC’s proprietary 150mm/6” ‘Super Linear’ mid-bass driver paired with a 25mm/1” ‘S-Spec’ dual-suspension tweeter. The bass driver operates in a 20-litre sealed cabinet and power is provided by on-board class A/B MOSFET power amplifiers, capable of delivering 200W and 50W continuous power to the bass and HF drivers respectively. The loudspeaker crossovers are active, analogue 2nd order Linkwitz-Riley and an all-pass filter is included to optimise the phase response through the crossover region, resulting in far improved tonal balance and imaging.
SCM20ASL Limited Edition amplifier
Input to the loudspeaker is via balanced XLR, located on the rear panel and there are user controls for input sensitivity and low frequency shelf cut/boost. The input sensitivity control allows the user to tailor the input gain to suit their source/pre-amplifier combination, resulting in more consistent performance. The low frequency shelf control gives the user the option to subtly adjust the bass response to suit their room and/or their personal taste. The speaker is supplied with a removeable grille, wrapped in dark blue acoustically transparent cloth.
SCM20ASL Limited Edition with matching C4 Sub Mk2 Limited Edition
To support the SCM20ASL Limited Edition, a limited run of 20 of ATC’s new 12” active subwoofer, the C4 Sub Mk2 Limited Edition have been produced. These limited-edition subs feature a matching gloss blue cabinet, leather upholstered baffle and silver anodised amp hardware.
Why Active?
In the quest for the best possible performance, all high-quality loudspeaker system manufactures will have struggled with the limitations of passive crossover networks. Whilst excellent results are possible from passive systems, a multi-way loudspeaker system will only realise its true potential if implemented as an active design. There are a few practical and economic reasons why passive speakers have remained so popular in the Hi-Fi market but, focusing on objective performance alone, active loudspeaker systems offer the following advantages:
For further information, please visit the SCM20ASL Limited Edition webpage.
Pricing & Availability
SCM20ASL Limited Edition £10,500 per pair.
C4 Sub Mk2 Limited Edition £7495 each.
(Typical UK retail prices inc. 20% VAT)
Both products will be available from 1st May.
For pricing and availability outside the UK, please contact your local ATC dealer or distributor – ATC – Where to Buy
The album is sponsored by ATC and you can listen and buy the album via Gemma’s Bandcamp page.
“Words can’t express how much joy is brings me to put music out into the world. It was an absolute honour to play with two absolute legends, Kenny Baron and Ron Carter.”
The album was recorded at Sear Sound, New York by, Chris Allen.
Mixed by, Clint Murphy.
Mastered by, Ryan Smith at Sterling Sound Nashville.
World renowned for its signature high output, low-distortion audio engineering and trusted by musicians, studios, live sound engineers and audiophiles over five decades, The Acoustic Transducer Company (ATC) is proud to announce the production of the C4 Sub Mk 2 active subwoofer system. Designed to unite the highest standards of driver and electronics engineering in a single system, the C4 Sub Mk 2 deploys the all-new proprietary 12-inch SS75-314SC sub-bass driver, powered by a newly developed 300W class AB amplifier design, both elements hand-built and installed within a substantial cabinet at the company’s Stroud-based production HQ.
New ATC Sub-Bass Driver
The C4 Sub Mk 2 features the new SS75-314SC sub-bass driver, the first to be purpose-built for an ATC sub-bass system and developed by the R&D team to reproduce the lowest four octaves of the audio band. In order to achieve this the design exploits ATC’s signature long-gap/short-coil configuration to its natural limits with an exceptionally long 30mm magnetic gap, surrounded by a 6-inch/150mm N48M Neodymium magnet – the most powerful ever assembled by ATC and a first for the company. In support, the wholly redesigned motor system features a new rubber roll-surround for high excursion capability, a new spider for optimised compliance geometry, and high flow motor venting for low noise and compression.
As well as minimising distortion, this unprecedented short-coil long-gap configuration ensures the voice coil remains within the motor structure – even at high drive levels – maximising cooling, reducing power compression, and improving reliability. Turbulent air noise within the driver is minimised by a large, flared vent running through the centre of the motor structure, which has the added benefit of increasing voice coil and motor cooling.
Consequently, the C4 Sub Mk2 delivers an extended low-frequency response while avoiding electronic equalisation, unlike many subwoofers available today. Instead, the more elegant combination of exceptional transducer engineering and a marginally larger cabinet volume is used. The simplicity of this approach reduces phase shift and group delay, aiding the integration of the sub with the partnering loudspeakers.
New 300W ATC Amplifier
The all-new 300W class AB design is precisely optimised to the requirements of the new driver, resulting in fast, dynamic bass with minimal colouration. Two balanced line inputs provide connectivity for stereo or AV/home cinema systems while two balanced outputs are available to feed partnering ‘main’ stereo loudspeakers or to ‘daisy-chain’ multiple subs. Low-pass filters are analogue, 4th order Linkwitz-Riley, with filter frequency options ensuring optimal integration with partnering speakers. In addition, an industry-standard 80Hz low-pass filter and an ‘off’ option (for use with external processing) are joined by a polarity switch, variable 180° phase adjustment and a stepped attenuator over a 21 dB range for precise level matching.
The C4 Sub Mk 2 Cabinet
Hand-built and finished at ATC’s cabinet factory and sharing styling with the brand’s ‘Classic’ and ‘Tower’ series loudspeakers, the C4 Sub Mk 2’s 70 litre cabinet employs 25mm/1-inch thick panels and heavy bracing. It’s available in standard Cherry, Black Ash, Walnut and Oak real-wood veneers, as well as Satin Black and Satin White finishes, or in premium Rosewood, European Crown Cut Walnut, Burr Magnolia and Pippy Oak real-wood veneers, with the option of high gloss over veneers and black/white piano lacquers also available.
In-Use
The size and performance of the C4 Sub Mk 2 make it a natural complement for ATC SCM19, SCM20, SCM40, SCM50 and SCM100 active/passive systems and high performance loudspeakers of a similar size. Multiple subs can be employed to further elevate performance in larger rooms or when partnering larger loudspeakers. Buffered linkable inputs and outputs make connection of multiple subs easy.
Designed and engineered with a focus on resolution and integration, the C4 Sub Mk2 delivers a more balanced and coherent experience for the listener, extending the low-frequency response without masking details or changing the tonal character in the upper bass/lower mid-range. It provides an upgrade path to customers owning smaller loudspeakers and lacking space for larger stereo loudspeakers whilst also strengthening ATC’s options in AV applications.
For further information and photographs, please see the C4 Sub Mk2 product web page.
Pricing and Availability
ATC C4 Sub Mk 2 typical UK retail prices (each, inc. 20% VAT):
Standard finishes: £3990
Premium finishes: £4750
Add high gloss lacquer over veneers: +£1979
Piano black/white: £6140
The subwoofer is available to order immediately.
For pricing and availability outside the UK, please contact you local ATC dealer or distributor – ATC – Where to Buy
“This brand knows a thing or two about studio grade audio, so when it decided to fit three Class AB amps into its already acclaimed SCM40 speakers we knew they were going to be something special. Put simply these speakers make the case like few others for the active path, they’re exceptional.” Audiograde, December 2022.
To read Audiograde’s SCM40A review in full, click here to visit their website.
“The delights of active operation for hi-fi loudspeakers have long been known, but few manufacturers venture from passives. All the more surprising, when you consider the sonic fireworks that have resulted from ATC turning its already excellent SCM40 floorstander, and adding internal Class AB power amplification and active crossovers. Put simply, the SCM40A punches way above its weight – turning it into a giant killer at a still reasonable and accessible price. Great clarity, power, dynamics and punch make for a highly expressive listen – one that makes music move you.” Stereonet UK, December 2022
To read Stereonet’s SCM40A review in full, click here to visit their website.
I am extremely sad to announce the death of my Dad, ATC’s founder and owner, Billy Woodman.
Dad passed away peacefully surrounded by his family on 21 July 2022, aged 76 years old. Although Dad had suffered with a number of health issues over the years, he had always defied the odds and recovered, his death has been a shock to us all.
Dad founded ATC almost five decades ago. His principles, philosophies, and absolute commitment to achieving engineering excellence are the foundation on which ATC is built. At the heart of this was outstanding transducer design and engineering that focused on achieving the best sound reproduction possible.
Dad’s emphasis on running ATC as a family business has remained and under his leadership and guiding hand, we have ensured that ATC has continued to grow and succeed with the constant support of fellow Director and lifelong friend, Bob Polley.
Dad was an extraordinary man, not only gifted as an engineer but also as a jazz pianist and undertook exquisite restorations of vintage cars. He was truly an exceptional man in every aspect of his life. He was one of life’s true gentleman and leaves a remarkable legacy. He inspired many, not least me, in how he led his life, always with courage, kindness and generosity.
The loss of my Dad is profoundly felt by not just me, my darling mum, Mumble, his grandchildren, his family, and friends, but the entire ATC family that he created and very much loved.
My family would appreciate some privacy during this incredibly difficult time.
Yours Faithfully,
Will Woodman
Managing Director
Loudspeaker Technology Ltd
Writer, David Price highly rated the SCM40. Here’s just a little taster of what he thought…..
“I can’t think of any competitor that offers its combination of articulation and precision at the bottom end………Personally, I adore it for its accuracy, speed and insight – the way it strings the rhythmic elements of the mix together…..”
David Price, Stereonet, July 2021
To read the review in full, please visit the Stereonet Website.
To find out more about the SCM40, visit its Product Webpage.
To find out where your nearest ATC dealer is or who handles ATC in your country, please visit the Where to Buy webpage.
Developed as the ideal partner for ATC’s latest P2 power amplifier and active speaker designs, the CDA2 Mk2 CD, DAC Pre-Amplifier combines convenient USB access to up to 24/384kHz PCM/Quad DSD high-resolution music streaming with an upgraded CD transport and a premium 32-bit DAC. It also offers dedicated headphone amplification and wider input selection, along with analogue circuits redesigned for an even wider, flatter frequency response with very low distortion.
Made in the UK, ATC’s CDA2 Mk 2 preamp/player is supplied with IR remote control and is covered by a six-year warranty*.
Roon is a rich and engaging way to browse, organise, and listen to music. Artist photos, credits, bios, reviews, lyrics, tour dates, and composers are located automatically, then interconnected by links to build a surfable digital magazine. Roon is also a multi-room, multi-user networked audio platform, it offers features such as bit-perfect playback, DSD and PCM upsampling, multichannel support, and Signal Path display.
What does it mean to be Roon Tested?
All Roon Tested devices are profiled by Roon’s QA Team so that Roon can identify them and automatically configure its settings to be optimized for them. This means that you can now just plug them in to the CDA2 Mk 2 and know you will be able to enjoy the best in high performance.
About Roon Labs
Roon transforms the experience of browsing music. Artist photos, credits, bios, reviews, lyrics, tour dates, and composers are located automatically, then interconnected by links to build a surfable, searchable digital magazine about your entire music collection. Roon also links all of your personal files with the millions of tracks available on TIDAL and Qobuz, so you can start with the music you know, then explore and discover new music from the world beyond your collection. Roon runs on most Mac, Windows, and Linux PCs as a server, with an Android or iOS smartphone/tablet used as a control point.
For detailed information on the CDA2 Mk, please visit the product webpage.
For more information on Roon, please visit the Roon Labs Website.
* 2 year warranty on the CD mechanism.
The SCM7 was just one of a handful of winners picked from the products reviewed by the website over the course of the year. The SCM7 is a compact stand-mount loudspeaker, using a sealed cabinet and ATC own hand-built drive units. Commenting on the SCM7:
” I was blown away by the sheer ability of the diminutive SCM7. A shoebox-sized design, it became truly addictive through its ability to handle an array of material with consummate ease. Their imaging was spot-on and the LF performance surprising given the cabinet volume. The overall balance is slightly warm, and all the more enjoyable for that. At the price point they have to be considered exceptional value-for-money and the ideal starting point for audiophiles on a tight budget or with a confined listening room.”
Jason Kennedy, The Ear, December 2020.
To read the feature in full, visit The Ear website.
Biography:
Australian Music Prize twice-long-listed composer Luke Howard has been described as “absolutely heavenly” (Mary Anne Hobbs, BBC Radio 6) and his music as “an ambient masterclass” (Musos’ Guide), but no words can fully capture the potency of Howard’s enthralling compositions. A pianist since childhood, Howard has scored films and performed with artists as diverse as Lior and Jeff Mills, capturing audiences with contemporary classical arrangements that curl and twist around the boundaries of a particular emotion. Though wordless, Howard’s songs perform a function unique to music as a medium – that of evoking without describing, bringing listeners to a feeling which defies articulating.
Back home in Melbourne, Howard recently composed music for the short film The Sand That Ate The Sea (nominated for best soundtrack in the 2019 ARIA Awards) and the theatre work The Shadow Whose Prey the Hunter Becomes (Back To Back Theatre). He has worked with choreographer, Juliano Nunes on pieces for the Royal Ballet in Covent Garden, and the Atlanta Ballet.
Howard is one of Australia’s foremost practitioners of contemporary classical music whose work continues to captivate audiences worldwide.
ATC caught up with Luke back in May, to find out a little more about how it all began, how he works in the studio and his experiences playing live….
ATC: Can you tell us a little about how your background and how your career in music began?
L.H: It’s probably not an uncommon story – I learned piano as a child at my parent’s suggestion – and I’ve just kept going. I suspect persistence is likely the real secret to a career in the arts. Of course, the story is a bit more nuanced: I studied jazz and improvisation at university as I enjoyed making things up, and didn’t have the technique nor repertoire to be a concert pianist. Much of my twenties and some of my thirties I oscillated between being a jobbing jazz pianist and a software developer, but in the past few years I’ve focused mostly on composition. I miss playing the piano as much as I used to, but I feel I can address bigger ideas, instrumentation, etc. as a composer. In a way, I’m just chasing the sentiment I first felt when I heard, say, Keith Jarrett. Trying to recreate that.
ATC: ATC’s founder, Chairman and fellow Australian, Billy Woodman has a great passion for jazz and has played piano from an early age, even covering the cost of his journey from Australia to England by backing a singer onboard the boat that he travelled on. One of his great influences, and all-time favourite pianists is the late great, Bill Evans. Which musicians have had a strong influence on you and your music?
L.H: Well, Bill Evans of course is an influence, but I think in my study of jazz piano I looked both before and after – I transcribed many Bud Powell solos, and then spent a good few years on a diet of Keith Jarrett and Brad Mehldau. They really define the language of modern jazz piano. The sadly departed pianists Lyle Mays and John Taylor were also huge influences, and aesthetically much more aligned with the music I make today. This of course is just a very narrow jazz piano lens – there’s much more music I love, including the artists I’ve mentioned so far, along with Philip Glass, Nico Muhly, Ryuichi Sakamoto, The Blue Nile, I could go on for days…
ATC: Piano is your primary instrument, but do you have any other instruments you are particularly fond of, both acoustic and electronic?
L.H: I am fond of many instruments, but I can’t play any of them save the piano (I’m pretty sure I’ve forgotten how to play the French Horn and oboe by now). I have a small cadre (which Google informs me is actually a tautology) of musicians I use on almost every record: effectively a jazz rhythm section, with guitar and violin, but used in more creative ways. So I love those textures. And, really, string orchestra is still my favourite ‘instrument’ for its emotional depth. I do look forward to the time when it will be possible to record with one again.
ATC: You incorporate electronic instruments and programming in your compositions. Is this an area of music you have been interested in for a long time or, a more recent development?
L.H: I’m a definite nerd but I’ve usually kept the two worlds fairly separate. I have been using synthesisers since I was a high school student thanks to some particularly forward-looking education programs in Australia (electronic music was offered as instrumental subject at my school). I’ve been reading audio magazines since approximately 1987 when my Dad bought me an issue of the now defunct Music Technology! As a jazz musician I didn’t listen to a whole heap of electronic music until recently, but I have been particularly inspired by how artists such as Nils Frahm, Jon Hopkins, Jóhann Jóhannsson, Max Richter, et al. have integrated acoustic and electronic elements.
ATC: Could you give us an overview of your studio setup?
L.H: I work mostly ‘in the box’, I have a few nice bits of outboard but beyond the things necessary to actually get the music into the computer in the first place, that doesn’t see a great deal of use. So what really matters are the room and the speakers. My room was designed by Adelaide acoustician Chris Morton. I have a very beautiful desk (of the non-mixing sort) designed by my friend, Thomas Jouanjean of Northward Acoustics. My speakers are a pair of ATC SCM50ASLs (fed by a Cranesong Solaris DAC), which to me are a perfect combination of musicality and truthfulness; not fatiguing to listen to for long periods, not flattering, but also not so clinical one doesn’t feel inspired. My piano is a Yamaha upright, nothing particularly extraordinary but one which records quite well. I’m a bit of a collector of reverbs and tape delays, too.
ATC: When you are in the studio, do you have a pretty structured process you like to follow when recording and do you have a favorite place to record?
L.H: I do a lot of recording at my own studio now, so I tend to record rough ideas on the piano, then work and edit them in the computer, and then re-record them if the original version wasn’t up to scratch. It depends on the piece: an orchestral piece might start as an improvisation on the piano or the computer, but most of the work will be done in notation, and it doesn’t really exist in a tangible form until it’s been performed. Other pieces I’ve improvised on the piano have ended up on the record with very little editing.
Regarding a favourite place to record: I loved recording at Rainbow Studio in Oslo when Jan Erik Kongshaug was alive…but it wouldn’t be the same without him. Again, it really depends on the composition, but I learned the lesson early that acoustic instruments need good rooms, and it’s a lot easier to bring recording equipment to a great sounding room, than a good acoustic to a poor studio. High land prices have forced the closure of many studios here and elsewhere, so nowadays we are usually recording ensembles in a concert venue, and solo instruments in smaller spaces. One of my favourite released albums, Ten Sails, was recorded in a Berlin apartment. Good music recorded in a less than ideal room will always trump the converse, but great music in a great room is ideal!
ATC: Are there any technologies that have had a particularly strong influence on your ‘sound’?
L.H: Most of the music I make has an acoustic genesis, using instruments which haven’t changed for hundreds of years. I am fond of treating sounds using delays, reverbs, etc. but I’m fairly certain I’m using exactly the same tools as everyone else, and I arrived at a ‘sound’ simply through experimenting with them. I love a beautifully recorded Steinway just as much as an upright piano with some felt draped between the hammers and strings (I’ve actually been using a distinctly Australian cleaning cloth – Chux – as a replacement for felt of late!). I did buy a Prophet 6 synth a couple of years ago, which I’m slowly getting to know, so you might hear more of that on the next album.
ATC: I read that you performed live as part of the Melbourne Symphony Orchestra alongside iconic techno artists Jeff Mills and Derrick May. On paper, an unlikely musical combination! but can tell us a little about how that came about and the experience?
L.H: Well, my name must be somewhere on a list of casual musicians as the Melbourne Symphony calls me occasionally when they need someone who can both read music and improvise. It was an interesting gig, certainly a lot of fun but the nature of amplifying an orchestra means that I couldn’t hear what Jeff and Derrick were doing too clearly. I do have a good story from that gig though, which might also explain why I haven’t heard from them since: I had a long solo feature just before the final song Strings of Life, and as I took a bow for this, my earpiece (with the click track) fell out. By the time I got it back in, I didn’t know where in the bar I was, let alone which bar! It was a pretty excruciating moment in front of many thousands of people – suffice to say when the gig ended I snuck away very quietly. To this day I’m not sure if anyone in the audience noticed, but the conductor certainly did!
ATC: Many people have had more time on their hands the past few months and are listing to more music and/or are looking for new artists and sounds to explore. Can you recommend three artists or albums that you have been enjoying recently?
L.H: I often go back to Talk Talk’s Spirit of Eden. It’s a perfect record. Keaton Henson’s Six Lethargies is a beauty. Other favourite artists to check out that your readers may not have heard of are Bing & Ruth, Ben Lukas Boysen, Marty Hicks and Hania Rani.
Quick plug! – a new live record of solo piano music, All That Is Not Solid, releases 30th July on Mercury KX (Decca/Universal). It was recorded in January this year, at the height of the Victoria bushfires. Listen to the track Passions of All Kinds here. I also recently released a book of sheet music which is available here.
Luke Howard: Website – Instagram – Facebook – Spotify – Tidal – Qobuz
ATC loudspeaker Technology is proud to announce the availability of the SCM150ASLT, a luxurious marriage of world-class transducer and electronic design engineering, conceived to deliver extraordinary levels of clarity, neutrality, transient response and effortless power delivery.
The 3-way system comprises flawlessly engineered SCM150ASLT speaker towers incorporating the latest ATC designed and built drive unit technology, combined with an ATC P6 power amplifier. SCM150ASLT drivers including the new 25mm neodymium soft dome SH25-76S super dome tweeter, the 75mm soft dome SM75-150S super dome midrange and the SB75-375SL super linear bass driver are driven directly by the six dedicated channels of the P6 dual-mono, 3-way power amplifier, housed in an elliptical billet aluminium chassis, exquisitely machined and finished to complement the impeccable quality of the cabinets.
Manufactured to the highest standard by ATC’s own cabinet makers, weighing 116kg and at approximately 1.4m tall, each speaker enclosure is finished in selected European crown-cut walnut veneer with a high-gloss polyester lacquer, and detailed with a stainless steel badge, input panel and bespoke limited edition plinth, PVD treated to create an exclusive nickel-like appearance.
SCM150ASLT Speaker
Deploying proprietary drivers throughout, the 3-way system uses ATC’s new SH25-76S tweeter, featuring both upper and lower suspension for greater operational precision and lower distortion; the latest evolution of ATC’s signature soft dome midrange design, the SM75-150S, and the company’s low-distortion SB75-375SL Super Linear bass driver. Combined they deliver a response accuracy of ±2dB between 60Hz-17kHz and ±6dB from 25Hz to 22kHz across a wide horizontal dispersion and at a maximum SPL of 117dB. The rear-mounted input panel features a single LEMO aerospace-grade 10-pin connector.
P6 Power Amplifier
The P6 is a high-performance Class AB dual-mono power amplifier designed and built by ATC to provide dedicated amplification and optimally matched active crossovers for the SCM150ASLT. It features a total of 6 channels: 2x (200W LF, 100W MF, 50W HF) for a combined output power of 350W/side. Generating a signal-to-noise ratio of more than 105 decibels its ultra-low noise discrete design, paired with 3-way active crossovers with phase equalisation, offers clear and detailed audio reproduction. On the rear panel, professional L/R XLR inputs (from preamplifier/digital source) are joined by aerospace-grade LEMO multi-pin loudspeaker output connectors. Proprietary speaker cables are included with the system.
As is customary with ATC products the SCM150ASLT and P6 are covered by a six-year warranty.
Available to order immediately. Product built to order, earliest shipping Wednesday August 5th.
Recommended UK retail price is £46,600 inc VAT. If you are located outside the UK, please contact the dealer or distributor in your region for pricing. A list of ATC authorised dealers and distributors can be found here.
Further product details can be found on the SCM150ASLT LE webpage.
Our most compact and affordable loudspeaker, the SCM7 has been reviewed by Martin Colloms, writing for Hi-Fi Critic magazine.
“This is a remarkable loudspeaker on several grounds. Firstly build quality and finish are excellent. Then comes the monitor grade accuracy, excellent pair matching and the remarkable bass for the size, and then the low distortion. It sounds musical and entertaining and was a delight to review. Within the natural limitation of size it really is of musically revealing monitor quality.”
Martin Colloms, Hi-Fi Critic, June 2020
To read the review in full, download the PDF HERE.
Read the write up from the Awards Issue of the magazine in this PDF. Alternatively, read the detailed review from last year here in this PDF.
The 2020 Hi-Fi+ Awards Issue is available now. Please visit the Hi-Fi+ Website for details.
Concluding, Jay writes, “…you will be treated to textured low-frequencies delivered with conviction and realism, a midband of clarity and focus, and smooth yet mustard-keen tweeter. Overall then, whether you choose this system because of its size, build-quality, performance, and/or country of origin, you’ll not regret auditioning it one bit. Catch it if you can.”
Jay Garrett, Stereonet, March 2020
You can read the review in full via the Stereonet Website
In music, timing is everything. The same could be said about the making of the album “Songs I Love”. ATC founder, Billy Woodman, an accomplished pianist and arranger, originally from Australia knew his relative, Gemma Sherry was into Jazz but it wasn’t until recently that their musical lives coincided.
In his early 20’s Billy made his way to England from Australia as a pianist on a cruise ship. This was followed by many years of touring and performing with some of the biggest name vocalists in England. Gemma, who is from a small town in outback Australia, started off playing saxophone in numerous jazz bands. After being accepted into music school she moved to New York City to study Jazz singing.
Gemma and Billy’s first musical encounter was when she was a teenager and during one of Billy’s trips back to Australia to visit his family, however it would be another 10 years before they began discussing the idea of making an album together. The original concept was to capture all of the musical talent in the family by including Gemma’s brother Jacob Sherry, an accomplished bassist. However with the family split between Australia, the U.S. and the U.K. this was very difficult and it wasn’t until 2019 that Gemma was able to sit down with Billy and bass player, Mike Waite to record a full album at Yellow Shark Recording Studios in Cheltenham, England, with none other than award winning New Zealand born engineer Clint Murphy behind the mixing desk.
This inspiration for this album was to showcase some of the most beautiful jazz songs that have ever been written. Billy & Gemma both have the same approach in that they believe the songs should be allowed to speak for themselves. It’s the subtlety in the music that shines and you can hear that from both Billy’s playing and Gemma’s singing. Their treatment of the melody and chords is with care and thought. Billy’s arrangement of all the songs shows his deep love for piano voicings and getting them, ‘just right’. He is an absolute perfectionist and you can hear that. Even if you didn’t know they were related, it’s hard to miss the effortless musical connection between Billy and Gemma as you listen to the album. There is such an understanding between the both of them. It also helped that Billy and Mike Waite have been playing together for over 20 years, having weekly jam sessions and rehearsals.
With a wide range of influences including legends such as Bill Evans, Kenny Barron, Blossom Dearie and Astrud Gilberto, the album ”Songs I Love” is a treasure.
The album was mastered by Ryan Smith at the new Sterling Sound facility in Nashville, TN, USA who employ ATC monitoring throughout their new facilities.
The album is available now from Gemma’s Bandcamp page. If you would like information on upcoming gigs, please visit www.gemmasherry.com
Clint Murphy Productions. Yellow Shark Studios. Sterling Sound Mastering.
Rahiel Nasir, The Ear, December 2019.
Rear the review in full here on, The Ear Website.
