Nimbus Records: An Introduction

Nimbus Records: An Introduction

July 25, 2019 3 By Kailee Schamberger



members records was formed in the very late 1960s in Birmingham my brother Michael Reynolds and new Mercante lubinski had formed a record company back in the 50s but in those days it was very much a closed shop you know even finding out where to buy a microphone was a trade secret and so that had to take a backseat for all those years whilst we built up a property business in Birmingham and then came back to recording we built a studio in Birmingham and that's where we recorded people I was at that parameter and I started our relationship with Martin Jones and we made some very very fine recordings there we always had a wish to live and work in one place and we by this time we had in the late set in the middle 70s we had acquired a disguting machine this was an omen disc mastering lathe for making LP masters and we realized that we could transfer our recordings from master tape onto master disc but we couldn't find people to make good enough LPS from those masters so we decided we'd have to make our own so we were on the hunt for somewhere bigger because although Numa had a had a scheme to actually bury a pressing plant in the garden I told him I think the neighbors would notice the steam so we'll have to find somewhere else and buy a great good fortune we found biased alleys it's been a great place for us it's allowed us to to live here to build studio here to build a business here I suppose Nimbus is rise to popular awareness would start with Bernhard Roberts in the in late 70s early 80s we asked him to come and record all the Beethoven piano sonatas and to do it director disc and for those of you who are not aware of what that is it's really an extension of what seventy-eights were it was cutting the music directly onto a shellac discs LP discs so you couldn't stop you couldn't edit even the gaps between the movements had to be exactly what you wanted them to be and if there were two sonatas too short snorters that had to go on the same side of an LP you had to play them continuously so a huge discipline and a very unique discipline in an age that have got used to tape and editing and those recordings have burn-up made for us I think put us on the map there are still musicians who have the huge courage of conviction required to go into a studio perform and leave it alone currently we're working with two pianists entirely different temperaments but who have that kind of Commission Martin Jones a British pianist who we've been recording since 1969 if you believe it who has dozens of recordings his ship his sessions are a joy he will turn up he plays he leaps that's it and similarly the Russian now American pianist Vladimir felts 'men I only get two performances of any piece of music from him I get the first one followed directly by the second one and that's it you take your choice if we look at conductors and larger scale opera larger scale recordings really abouton who is now in America who was the founder and principal conductor of the English Symphony Orchestra always had that conviction I can think of things like the Tallis Fantasia Vaughan Williams that's a complete performance on record a wonderful thing to do as is the Strauss metamorphose and these are major major pieces which if you cut into them you destroy something seamless about the progress of the music he has that conviction and looking perhaps into even more complex things the music of George Benjamin George is at least as enthusiastic to have his live performances on record as he is to have things that are studio produced because he understands the critical importance of the energy that comes from a performance even though there will be errors even though there will be mistakes they're not the most important thing for me the most the sane of all statement the Nimbus has ever come up with is technology serving the Arts it meant that throughout all of the ancillary businesses that we ran the core of the company was always making music and although we started in Birmingham in the 1960s as a property company and we morphed into being one of the highest quality LP manufacturers we were the first people ever to make CD we made our the most comprehensive and and over specified mastering systems that were used by all of the DVD and CD our makers in the world there has always been another business that runs alongside the record label and that business has enabled the company to make long-term investments in high-quality recordings members as a record label is in the best health it's ever been because having come out from underneath the support of major corporations it is now meaner and leaner than it ever has been really it's it's now absolutely funded well it's self-sustaining on its own right and with short-run manufacturing it means that not only will members be the first record label ever to have been made on CD but probably will be the last record label ever to be made on Cyndi