Wilkinson and the Golden Age of Decca Recording
In the history of high-fidelity audio, few figures have left as indelible a mark on the sonic landscape as the engineer known affectionately as "Wilkie." From the early days of electrical recording to the sophisticated era of stereophonic sound, Wilkinson's career at Decca spanned decades of technological revolution. His meticulous approach to microphone placement and venue selection helped define the "Decca sound," influencing generations of engineers and capturing some of the 20th century's most iconic musical performances.
Early Life and Entry into Recording
Born in London, Wilkinson's journey began at Trinity Grammar School, Wood Green, where he studied on a scholarship. After leaving school in 1928, he initially worked for the publishing house Cassell's. His entry into the audio world occurred when he followed a former colleague to the World Echo Record Company. It was here that Wilkinson witnessed his first electrical recording—the process of using microphones and amplifiers to record sound—at the Clerkenwell Sessions House in London.
During this period, he met dance bandleader Jay Wilbur, who sparked his interest in the technical mechanics of sound. After the World Echo Record Company folded, Wilkinson briefly managed recorded music at a Brighton ice rink before joining Wilbur at Crystalate studios in Hampstead. His early duties were humble, including "shaving waxes," a process where the surface of used recording waxes was removed to make them blank for reuse.
The Decca Years and Wartime Innovation
When Decca acquired Crystalate in 1937, Wilkinson joined the company alongside Arthur Haddy, who would eventually become Decca's technical director. During World War II, Wilkinson's expertise became a matter of national security. Because Decca was engaged in top-secret government research, his request to join the Royal Air Force was denied. Instead, he contributed to critical war efforts, including submarine navigation, recording Luftwaffe night fighter signals, and assisting with the navigation aspects of Barnes Wallace's "dam buster" operations.
Parallel to his military contributions, Wilkinson and Haddy refined Decca's recording equipment and disc cutters. They developed ffrr (full frequency range recording), a technique that significantly expanded the frequency response of recordings, bringing Decca to the forefront of the industry after the war.
Transition to Orchestral Production
Wilkinson's early engineering work focused on monaural 78 rpm releases. In October 1946, while working with Charles Munch and the Paris Conservatoire Orchestra, he discovered the exceptional acoustics of Walthamstow Town Hall after Kingsway Hall was unavailable. This marked his first foray into producing, and he later recorded the London Symphony Orchestra at the same venue. He formed a productive partnership with producer Victor Olof, which led to the complete recording of Sibelius's symphonies between 1952 and 1955 at Kingsway Hall.
The Evolution of Stereo and the Decca Tree
Decca was a pioneer in adopting the Long Play (LP) album and stereophonic recording. Although Wilkinson remained with the monaural team until April 1958—as mono was still considered the primary release format—he was instrumental in the development of stereo technology. In the early 1950s, alongside Roy Wallace and Arthur Haddy, he co-developed the Decca Tree.
The Decca Tree is a spaced microphone array designed for orchestral recordings. Wilkinson described the setup as placing the "Tree" slightly in front of the orchestra, with two outriggers positioned over the first violins and cellos. He supplemented this with directional microphones for woodwinds, tympani, and horns, and a dedicated microphone for the harp if present. He advocated for a minimalist approach, believing that using too many microphones could degrade the sound.
The Philosophy of Venue Selection
Wilkinson was highly selective about where he recorded, favoring older halls built from brick, wood, and soft plaster. He believed these materials produced a natural, warm sound with rich bass. Conversely, he avoided modern concrete structures, which he felt produced a "thin hard sound" lacking in warmth.
Key Facts
- Career Span: Joined Decca in 1937 and retired in 1980 following the PolyGram takeover.
- Technical Contribution: Co-developed the Decca Tree microphone array and worked on ffrr (full frequency range recording).
- Wartime Work: Contributed to submarine navigation and Luftwaffe signal recording.
- Professional Reach: Worked with over 150 conductors and trained every Decca engineer from 1937 onwards.
- Preferred Venues: Favored Kingsway Hall and Walthamstow Town Hall for their acoustic warmth.
Legacy and Artistic Impact
Known as "Wilkie" in the industry, he was respected as a straight-talking perfectionist. Producer Ray Minshull recalled Wilkinson's exacting nature, noting how he would prowl the stage to make minute adjustments to microphone placement and orchestral seating. He insisted that musicians remain in their precise positions to maintain the intended sonic balance.
His reputation was cemented through his work with producer John Culshaw and conductor Charles Gerhardt, particularly in the RCA Classic Film Scores series. Among his most prized achievements was the 1963 recording of Britten's War Requiem at Kingsway Hall. Other notable works include Wagner's Parsifal (1951) at Bayreuth and Berlioz's Symphonie fantastique (1972) with the Chicago Symphony Orchestra.
| Category | Key Details |
|---|---|
| Notable Artists | Vera Lynn, Mantovani, Ted Heath Band, Edmundo Ros, Jo Stafford |
| Key Technologies | ffrr, Decca Tree, Stereophonic Recording, LP Albums |
| Major Venues | Kingsway Hall, Walthamstow Town Hall, Victoria Hall (Geneva) |
| Key Collaborators | Arthur Haddy, John Culshaw, Victor Olof, Roy Wallace |
Frequently Asked Questions
What was the "Decca Tree"?
The Decca Tree is a specific microphone array developed by Wilkinson, Roy Wallace, and Arthur Haddy. It consists of a central T-shaped arrangement of microphones placed in front of an orchestra, often supplemented by outriggers and spot mics, to create a rich, balanced stereo image.
What does "ffrr" stand for in recording?
ffrr stands for "full frequency range recording." It was a technique developed at Decca to capture a wider spectrum of sound frequencies than was possible with standard recording methods of the time, resulting in higher fidelity.
Why did Wilkinson avoid modern recording venues?
Wilkinson believed that modern buildings made of concrete and hard plaster produced a thin, cold sound. He preferred older halls constructed from wood, brick, and soft plaster, which he felt provided a warmer natural acoustic and better bass response.
Who were some of the most famous artists Wilkinson recorded?
Throughout his career, he recorded a wide array of talent, including classical conductors like Sir Georg Solti and popular artists such as Vera Lynn, Mantovani, and the Ted Heath Band.
How did Wilkinson influence future Decca engineers?
Beyond his own recordings, Wilkinson's legacy was secured by his role as a mentor; he is credited with training every Decca engineer from 1937 until his retirement in 1980.