Nick Pugh, a seasoned recording and mix engineer with a strong background in musical theatre and orchestral work, is no stranger to ambitious productions. But JO: The New Little Women Musical presented something truly special. It was a project rich in both emotional nuance and cinematic scope.
With a classically inspired score by Dan Redfeld and a book and lyrics by Christina Harding and John Gabriel Koladziej, JO demanded a hybrid recording approach. It needed to deliver the grandeur of film scoring alongside the intimacy of live theatre. Capturing that balance meant focusing on realism, richness, and depth. For Pugh, Sontronics microphones were the perfect fit.
“I approached this more like a film score than a traditional musical,” he explains. “Dan’s orchestrations were incredibly detailed, and we needed microphones that could handle both the scale and subtlety of the music.”
A Score Built on Detail
The music in JO spans everything from sweeping orchestral arrangements to delicate solos, layered choral harmonies, and bold brass. Capturing that range required a setup that was both flexible and high fidelity.
The orchestral sessions were recorded at Abbey Road’s Studio 2. With Studio 1 undergoing refurbishment, the team opted for a portrait layout in Studio 2 to fit the full ensemble. This unconventional choice turned out to be a surprising advantage.
“It gave us more depth in the room and allowed the microphones to breathe,” says Pugh. “There was also better natural separation between sections, which really helped with the percussion and woodwinds. Both of those sections were key to the score.”
The setup included close mics, mid-range sectionals, a traditional orchestral tree, and half-width baffles to control bleed and help focus the brass and percussion.
The Role of Sontronics: Clarity, Character, Control
While Abbey Road already had a number of Sontronics microphones in its collection, the team brought in additional units to meet the unique demands of this project. Pugh used a mix of ribbon and valve condenser mics. This gave him both tonal variety and control throughout the recording and mixing process.
Apollo 2 Stereo Ribbon Microphones
Positioned in front of the orchestral tree and behind the strings to capture woodwinds and room ambience.
“The Apollo 2 picked up a wonderfully natural character with just the right amount of room tone,” says Pugh. “Compared to a standard XY pair, it felt more lifelike. It was as if you were standing on the conductor’s podium.”
Delta 2 Ribbon Microphones
Used on French horns as a creative alternative to the classic Neumann U47.
“The Delta 2 had a more open top end, which helped bring out the colour and mid-range presence of the brass. Each mic gave us a slightly different tone. That meant we could highlight different musical influences in each track.”
Aria Valve Condenser Microphones
Used on guide vocals and double bass, including a prototype of the next-generation Aria.
“The Aria gave us a beautifully warm, characterful sound. It was a strong alternative to the U47, especially on low-end instruments and for isolated vocal takes during the orchestral sessions.”
From Tracking to Mixing: Sontronics Throughout the Process
After recording wrapped, Pugh shifted focus to the mix. Once again, the Sontronics mics made a major difference.
“The Apollo blended seamlessly with the orchestral tree and added natural realism. It made it much easier to create a spacious and believable stereo field, without having to rely too heavily on artificial reverb.”
One of the biggest challenges was percussion. With players constantly switching between a wide range of instruments, timing and clarity were critical.
“We had two percussionists covering a huge range of instruments. There were moments where they didn’t quite make it to their positions in time. But the mics still captured so much detail. That gave us loads of flexibility during the mix, which was important in a score packed with percussive highlights.”
Maintaining Consistency Across Studios
In addition to the orchestral recordings, vocals and dialogue were captured across several studios in London, New York, and Los Angeles. Ensuring tonal consistency between all of those sessions was no small task.
“The Aria was especially helpful for vocals in different studios. Its tone helped smooth out the differences in acoustics and setup, so we could maintain a consistent sound across the whole project.”
A Project That Raised the Bar
Looking back, Pugh credits the creative team for their energy and vision. From cast members like Christine Allado, Laura Benanti, and Rob Houchen to the writers, producers, and musicians, everyone brought passion to the process. But what stood out most to him was the attention to sonic detail.
“Dan and the writers had a crystal-clear artistic vision, and that level of care was infectious. It pushed everyone to do their best. I think that really comes through in the final mixes.”
Sontronics Equipment Used
- Apollo 2 Stereo Ribbon Microphone – For natural stereo imaging and orchestral depth
- Delta 2 Ribbon Microphone – Adds tonal clarity and openness to brass and woodwind
- Aria Valve Condenser Microphone – Delivers warmth and presence for vocals and low-end instruments
Why Sontronics Microphones?
“I’ve championed Sontronics ribbons on a few projects now,” says Pugh. “For JO, they gave us the flexibility, realism, and character we needed. The Apollo, Delta 2, and Aria all performed brilliantly. They made a big difference from tracking right through to the final mix.”