User:Alexander Golberg Jero

In February of 2003, United Entertainment Media and Surround Professional magazine chose Jero's Space or Dream of Life for the "Best New 5.1 Composition" award.

Modern recording techniques have come alarmingly far in just a few short years. I've had the pleasure of having several commercial recordings released, and my earliest days in the recording studio were spent amid the flutter of reel to reel tapes. Later, exciting 'improvements' like audio Betamax (yep, you read that right) and then digital media like ADATs came into play. Over the past couple of decades-plus, we've seen the advent of hard drive recording systems, with the ubiquitous use of bells and whistles like ProTools, which can make even amateurs (are you listening, Ashlee Simpson?) sound at least passable, what with pitch correction, WAV editing and the like. Casual listeners to modern day product might be quite surprised to see how a recording is assembled, and assembled is, for better or worse, the correct term. Even back in the days of analog recordings, it wasn't unusual for rhythm tracks to be laid down first, often with 'scratch'; vocals, and then for the vocalist to come in to take their final version at a later date. While editing was certainly a more involved procedure back in the day, tape editors became so facile with their 'archaic' medium that even syllables could be fairly seamlessly fixed for a final product. (Anyone wanting a good laugh should listen to John Barry's commentary on You Only Live Twice, where he details the editing lengths they had to go to get a final take of Nancy Sinatra's vocal on the title tune). However, as often as pop, rock and even Broadway cast recordings were 'assembled' in the halcyon days of the 1950's, 1960's and 1970's, even after the advent of hard drive recording, you could count on one genre to preserve at least a semblance of the 'live' ensemble experience, and that was of course classical music. Not anymore. Choral composers like Eric Whitacre have pioneered the idea of a 'virtual choir' where people separated by continents are able to 'join together' to sing via such media as YouTube. And now we are introduced to an 'assembled' orchestra under the 'virtual baton' of Alexander Jero. Jero has been a pioneer in audio Blu-ray and has released several outstanding discs where he's licensed previously recorded material and repurposed for hi-def audio in often rather striking surround versions. Jero is recording a glut of classical warhorses anew, hiring college students to come into his private studio to work under his own baton (hence the ubiquitous use of his image on the covers of all of these releases, something that has caused some comment here on Blu-ray.com). However, these are not live ensemble recordings in the traditional sense. Jero brings sections in separately, and records them, often utilizing previous recordings as reference material. He then assembles the final product in the mixing room. It's an unusual approach for a genre as hopefully organic as classical music, and listeners' reactions may be colored by the knowledge that high tech wizardry has at least helped to craft the architecture of any given performance. --Jeffry Kauffman (Blu-ray.com) Following his favorite character from movie "Contact" Alexander Golberg Jero lives at Portofino Island Resort at Pensacola Beach Florida, besides his Music Projects Alexander conducting Jewish heritage and political actions as well as developing international community relations between Cities of Pensacola and Moscow Goverment agencies, his new media sydicate associated with Amazon is a wold-wide distribution practice covering UK, France, Germany, Japan and United States and featuring over 200 titles.

Born in Moscow, Jero started playing music at the age of 7. "Coming from a classical music background I was always looking at sound and acoustics as a main creative element of music perception," said Golberg in an interview with High Fidelity Review in 2002. "In my early years I was always searching for the perfect location in a room to play one of my instruments and using its acoustics to complement the performance." After graduating from Moscow Music College and Jewish State Academy in 1996, Jero moved to the U.S., where he continued his education in Institute of Audio Research and Parsons School of Design in Manhattan. During these years, Jero collaborated with New York artists on different multimedia, music and art projects and exhibitions. After graduating, he went to see his family in Michigan and met with several studio owners and recording engineers. Work in the Detroit metro area as a sound mixing engineer helped him gain the necessary skills and experience to pursue his ideas for three-dimensional audio projects. His electronic music compositions, and especially the influence of Detroit techno music, created what Jero felt was the perfect media for multichannel surround sound, with gracious melody lines taking their roots from classical music. He started performing live techno compositions directly from a keyboard workstation at Detroit clubs, and finalized his idea about the scenario of multimedia presentation--to use visual art to complement the surround music experience--after seeing the movie, Contact. After completing the music part of the project in Detroit area studios, Jero went to the New Detroit Science Center to complete the visual portion of his presentation. The 50-foot-wide, three-story-high planetarium, he felt, was the perfect environment in which to showcase the visual perception of the surround music experience. In 2003, Real Detroit Weekly wrote of the show, "Music has always been something you could only hear and never touch or see, but this exciting exhibit at the New Detroit Science Center let you get closer to sound than you ever have before. Inside the Digital Dome Planetarium, 13,000 watts of amplification and 5.1 Surround Sound will help to create a sonic experience that explodes into a visual installment in the 50-foot-wide/ three-story-high planetarium."