jwhynot wrote on Mon, 26 April 2004 14:56 |
- which takes the handcuffs off as far as making the decision during the date. the more integrated PT has become in my method the less detailed I need to be in preparation - and in particular the less worried I need to be about overturning a decision made before arriving at the studio. I'm always in the hunt, but never chasing another version. which I like. JW |
lucey wrote on Mon, 26 April 2004 23:27 |
i forgot to say, and it may be off topic or redundant but: be sure not to blow the best take in rehearsal no matter what you do as i say often, beauty resists being captured, so it's usually one and done for the magic take of a song (or the pass of a mix engineer) and it's damn near impossible to re-gain that level |
jwhynot wrote on Tue, 27 April 2004 04:39 |
>>At some point you have to make a decision and stick to it, 1. Yes. When you get it right, as producer you should recognize it and stop changing. In other words the decisions you stick to would preferably be the good ones, right? 2. When I recognize that i/we've got it right I'm happiest if it's either about to be or has just been recorded. First time right = best time right. In a great majority of cases. 3. My main practical point being, absent a large financial advantage, I prefer not to do mock-ups or get great performances before I arrive at the studio. Which is not at all the same as being indecisive. In fact, quite the opposite. I don't over-prepare. But I don't dally on the session either. >>also realize that music has suffered due to a lack of decision making in a timely fashion.<< You think? What music do you mean? (I assume you're not talking about my records )I hear more suffering caused by cookie-cutter approaches - generic over-production - dumbing down - superficial imitation. In my experience these effects are not caused by an overabundance of spontaneity. JW |
mwagener wrote on Tue, 27 April 2004 06:48 |
... and it wouldn't be the first time that a pre-pro or demo take ended up on the actual album |
Ross Hogarth wrote on Wed, 28 April 2004 01:47 |
Its I believe it is important to See the Job Do the Job Stay out of the Misery .... this is one of my favorite sayings ..... |
j.hall wrote on Wed, 28 April 2004 10:31 |
when i'm in charge of "producing" or "recording" or both i do the same pre-pro every time. "send me a CD, or cassette, of all the songs we are going to record. i couldn't care less what it sounds like as long as i can hear the rough outline of the song." i typically have littel time between projects to stop and think, and i often times crunch mix sessions all around tracking sessions. if i can drive around town with a CD playing, and get to the point where i stop listening and start hearing, i'm much more effective when communicating with the band. one caveat to all that.......i work in the indie rock community, it is not acceptable to change a bands song structure, in any way, shape, or form with out prior conversations and agreement. doing this on the fly will CRUSH any hope you might have in gaining trust, and working with the band again. |
j.hall wrote on Wed, 28 April 2004 09:31 |
when i'm in charge of "producing" or "recording" or both i do the same pre-pro every time. "send me a CD, or cassette, of all the songs we are going to record. i couldn't care less what it sounds like as long as i can hear the rough outline of the song." i don't have time, nor budget, to sit around in practice spaces listening to songs at 110dB adding my relatively nieve comments every other take. i typically have littel time between projects to stop and think, and i often times crunch mix sessions all around tracking sessions. if i can drive around town with a CD playing, and get to the point where i stop listening and start hearing, i'm much more effective when communicating with the band. one caveat to all that.......i work in the indie rock community, it is not acceptable to change a bands song structure, in any way, shape, or form with out prior conversations and agreement. doing this on the fly will CRUSH any hope you might have in gaining trust, and working with the band again. i'm there to motivate, get performances, suggest overdubs, get in their heads and force them think of the song from all angles. i'm not there to tell them how to write, or what to play. i ask for CD's so i can start forming my thoughts on each song and i can know the arrangement in advance. keeps me from jumping around in the quiet part and standing still in the loud part. |