The most important in the process of recording is the recording - room and its acoustics. Then come the choosing of the type of microphone and its placement in the room, and than all the rest (Mic Amp, EQ, Comp. ETC.)

The acoustics of Moreno Music was designed by "Recording Architecture" in London, which specializes in studio building, along with Jacob Moreno, who is equipped with extremely sharp ears and very experienced in studio building.

The studio was built in a way that makes it easier to work hard for long hours, so you don't loose your concentration. The acoustics in the recording room is perfect and enables each instrument, be it electric or acoustic, to sound at its absolute best. The optimal hearing conditions in the control room make it possible for the team to hear every murmur and nuance effortlessly.

An additional, vital parameter in the process of recording is the microphone. Every microphone has its own characters and the key to the success of a good and quality recording is choosing the right microphone for the right instrument. Moreno has the knowledge and the experience of knowing which microphone to use and where to place it in the room to bring out the unique and personal shade of each instrument.

Due to the meticulous handling of acoustics, performers who have recorded in the studio testify that they hear themselves perfectly, and so they have absolute control over their voice.

The recording in the studio is performed using a tube analog console that goes through Dan Lavry converters straight into the Protools system.

The mixing in the studio is done with two consoles, one tube-analog and the other digital, working in full synchronization, in order to make the best out of all possible worlds.

Ehud Banai, on working with Moreno (out of Ehud Banai's website):

"...it's afternoon, towards the end of the 80's, Thursday, and Oved Efrat, the album's musical producer had just left for a concert and it was only Jacob Moreno and me in the studio.

Jacob Moreno, the senior, mythological sound engineer, who was the chief engineer in Triton studios when I was still an technician assistant... And here he is now, sitting quietly, in utmost concentration and mixing my album. For me it was too good to be true.

And the last day is ending, and he's working on the final song, "Nagata Bezamrot Haezim", and as in all other songs, and the same as it was during the entire week, I say nothing. I simply sat and watched and listened and he, time and again, is doing exactly what I think should be done.

I'm thinking to myself: "this guitar should be brought out some more" and he's bringing it out some more. I'm thinking: "this guitar needs more shine" or "the singing should be softened a bit" and it's as though he is reading my mind, doing it, and I just sit there behind his back, amazed.

The last sounds of "Nagata Bezamrot" with the electric guitar and the Sitar that Erez brought me from India, faded out. Moreno turned to me and smiled. That's it. It's over. We said our goodbyes in a warm handshake... I thanked him. He said there's nothing to thank for, that he had a great time and it's a great album and that if I have any reservations concerning the mixing, I should give him a call.

I will meet Moreno again over ten years later. He will be the one to record the album "Ane Li" in the studio he built in Herzlia. But in "Karov" Jacob Moreno did the mixing, and he did it in five days only, in the old way. The manual one; the analog. No computers..."