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Bone conduction technology involves transmitting sound waves through bones in the skull directly to the inner ear, bypassing the outer and middle ear. This allows users to perceive sound and listen to music or messages without anyone else hearing it. Fun fact! Ludwig van Beethoven, the famous composer who was almost deaf, discovered bone conduction.

The SDE-exclusive blu-ray audio of Unrepentant Geraldines is packed with content. It includes the 14 album tracks, plus all three bonus songs which were available via different methods at the time (only one being available physically). They are:

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Tori's first piano and voice solo album, however, made quite an impression. Little Earthquakes, released in 1992, paved the way for the huge following she now enjoys. Under the Pink followed in 1994, and it was during the tour to support this second solo album that Mark Hawley and Marcel Van Limbeek first met up with Tori.

Marcel Van Limbeek: "It's also really great fun importing live sound techniques into the studio, as well as the other way around. I'm thinking of things such as the extensive use of effects, although obviously we have to be more subtle in the studio than you would be on a live concert. Usually what happens on a tour is that the tour manager gives you a CD of the band and you have to try to work out how they got the effects and sounds. In this case, because we both engineered the album and we are both working on the tour together, we already know how it was all done, which makes it a lot easier and much more fun!"

MVL: "We decided to have a very big control room too, so that when Tori was playing live with the drummer [in their separate rooms], we had Caton [guitar] and Bull [bass] playing in the control room behind the desk, together with the programmer and his racks of gear. That all worked really well because we had so much space in the control room."

MVL: "We often use the small Genelec 1031s as nearfields in other studios, but it would be silly to have them as nearfields here when we have the 1037s as the main monitors. We have a pair of NS10s, which we never use, and although on the last album we didn't mix on the Missions, we did use them a lot for playbacks in other rooms to check what we had done."

MVL: "For the Pele album we used Neumann U87s on the piano, both in the studio and on stage during the tour, simply because they sound nice, and round, and big. On the new album we still used the U87s on some tracks, but we also used AKG C414s because they make the Bsendorfer sound much more like a 'pop' piano. It sounds slightly smaller, but it doesn't sound brittle, and it sits better in the mix with the drums and the rest of the band. We also tried using a U87 on the low end and a C414 on the high end to get a really great blend of warmth and brightness, which worked very well on some tracks."

MH: "I think on the previous album the microphone choice was more critical because of the natural, real feel to it. On this album, though, everything is so hard and compressed to give it a pop sound that microphone choice plays a smaller role."

"I think you can go too far in trying to get everything completely separate, and there is a danger that you might loose the ambient sound of the room. A bit of crosstalk is perfectly OK, so with this album we used a simple sound board which went over the front of the piano to provide a degree of screening. We still had some crosstalk between the voice and piano, but at least it was reflected rather than direct sound."

MVL: "We don't really have any fixed ideas about mic techniques. If we don't know what is going to happen then we tend to stick with the old favourites like a Shure SM57, a U87 or a Neumann KM140, depending on what the source is. But other than that we don't really have favourites as such. If you have the time, I think it is always worth experimenting anyway. The U87 is the workhorse in the studio, much like the SM57 is for live sound, and although they are coloured compared to B&Ks, they are coloured in a very musical way which is why I like them so much.

"For the new album we miked every drum up separately but conventionally, although sometimes we would just use a pair of overheads, or maybe even just one distant room mic. We also changed the acoustics of the room, to make it more dead sometimes. It really all depended on the kind of sound we wanted for the music, and what the track was all about."

MH: "That was the fun thing about this album compared to the last. On the last album it was all about pure audio, and if we put drums on a track, they had to sound like pure drums. This album was much more about how could we f**k the sound up to make it more pop orientated.

"For example, Matt [drummer] brought in this nasty little box which was some kind of really stupid limiter with an outrageously long release time. You can put up any mic anywhere in the room and you get this amazing sound!"

MH: "Tori is a pure musician and isn't interested in the technical aspects, but the great thing about working with her is that she is never unsure about anything. She will make a decision and will say when something is right. A lot of artists are quick to say when something is wrong, but Tori will say when it is right too, and you know when she says that, it is right, and she won't change her mind again.

"A lot of musicians like Tori find it very hard to listen to a mix as you are building it up, and not automatically hear it as the finished thing, so although we might be quite happy with a quick reverb slapped on the vocal, and a rough drum reverb as we are building the mix, whenever Tori walks in she hears it as the finished thing."

MVL: "You know you couldn't say to her, 'Listen to this, but we haven't done anything with the backing vocals yet' because she wouldn't say 'this is great', she'd say 'where are the backing vocals?'. Timing is everything in terms of when she listens to the mixes, so we would tell her when we had finished a track and then she could come and listen and anything she had to say was relevant."

"Tori hasn't played with a live band since she became successful, so this tour is something rather different. She has such a good reputation for performing live in America, and that has a lot to do with the fact that the songs change every night, and she alters the set drastically to suit the audience. Obviously that is much harder to do with a full band on stage, but I think as the tour progresses the band are such accomplished players that it could quickly turn into something really special.

"In terms of the equipment, we are virtually duplicating the effects we used in the studio because they really shaped the sound of the new album. We're even taking Lexicon 480Ls out with us, which is pretty unusual in live sound, and we're also using a lot of Focusrite EQs and preamps."

MVL: "On the last tour we used more or less the same microphones on stage as we used in the studio, although you obviously can't do that with Tori's vocal microphone. We used a U87 or a Neumann M49 in the studio, but on stage we used a Neumann KM140 which is a great mic, and I guess we will do the same this tour."

MH: "Tori is not big on rehearsing in sound checks, and she actually does a lot of her writing then, so I usually have to keep a DAT running for her and can't easily try new things out. The other thing she does a lot is use the sound check for the local press reports, so I often have to give the local TV people a sound feed rather than do a proper sound check. So the Tascam idea is extremely useful from several points of view."

MH: "Although it's really great doing both the studio album and the live tour, it has been completely manic! Normally, there are entirely different teams of people looking after the two sides of it, but with this, it's all the same people. Even John, the tour manager, has been the production manager for the album, so it has been pretty hectic finishing off the album and getting ready for the tour. Of course, it's a great opportunity and very rare to follow through from the studio recording to the live tour, so even though it is all total chaos, it is still fantastic!"

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Amos Music Library, located in Room 120, Center for Performing Arts, between Patterson Ave & Maple St, houses the principal Oxford collections of print books and journals about music, music audio recordings, sheet music, and musical theater materials, and provides comfortable seating, study tables and carrels, and capabilities for listening to various formats of audio materials as well as class-related reserves for music and some theatre courses.

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