A writer can take multiple avenues when deciding to record his or her compositions. One tried and true method is to record live performers, which is a method found frequently in the classical, salsa and jazz genres. In this first case, one needs to create the music charts (aka sheet music) for the musicians to base their performances upon. Much rehearsal is required in order for the takes to be solid. An alternative way does not require actual musicians performing and instead can be done solely through a DAW (Digital Audio Workstation). Examples of this method can be found in EDM genres and certain film and TV music. Beyond the cost of the computer, software and samples, the producer can effectively create the music with little budget. The third and most flexible way of producing requires a combination of live players and computer programming. This approach allows the natural fluidity of a live group to coalesce with overdubbing (live recordings over the existing tracks), electronic elements and arrangements that would be too expensive or difficult to produce live. Electronic elements can run the gamut from synthesizer parts, musique concrète (found sounds) and sound design to sampled recordings of real instruments.
My new album is produced using the third method. Most of the tracking has live performance as the song backbone, with sampled instruments augmenting the arrangements. Before rehearsals I spent quite some time writing up charts, providing dynamics, articulation, and tempo instructions for the players. I first met up with my drummer, as his incredible musicianship and connection to my writing helped set the stage for the rest of the band. Just considering our rhythmic flow was important, as certain ideas the drummer brought to the table accentuated aspects of my writing. With the exception of written out licks and markings, he uses the charts as a starting point for developing his approach. After a couple of rehearsals with the drummer, I listened back to the performance recordings, took notes, and then invited the bass player to join in. Early in the rehearsal process I will workshop different arrangement ideas and then go back to my charts to make revisions. As a comparison, one can think about the process a playwright goes through when bringing his or her writing to actors for a reading. Having actors speak the parts out loud often shows how the phrases will feel in context. Keeping this analogy in mind, I have always recorded rehearsals, since when wearing my performance hat, I cannot “see” our progress from a birds eye view. The POV of listening allows me to make revisions with a clear head.
An important part of workshopping is following one’s instinct and trusting if something is not working. No matter what is written on a page, all players need to feel connected to one another for a band to sound great. Of course, it helps a great deal for all players, even bandleaders, to leave egos at the door and respect the process of coalescing material. I consider using my management hat an especially fraught challenge, as it requires good communication skills as well as a dose of chutzpah. During my prior album production, I had to fire multiple drummers and deal with some bad vibing before discovering my core rhythm section. Because I was figuring out my footing as a bandleader, I spent too much time and money trying to work with musicians that didn’t jive with my vision. For this record, I understood rather quickly that the bass player initially hired was not syncing to the material and brought a negative attitude to the rehearsals. I consulted with my trusted drummer and ultimately decided to let the bass player go. It was a great decision, as the subsequent player had chemistry with the group and the results felt wonderful.
Looking forward to next time when I talk about vocal workshopping and the recording process.