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July 27, 2005
Why So Many Folks Like Old LPs
I’m working on a most interesting project, something I’ve never done before at SCM studio, although the technology has certainly been around for a while…I’m converting some old LPs into CDs for a client.
I had to purchase a new program to do this, and I also had to borrow a turntable! I’ve haven’t owned one in years.
It’s been a real treat to hear these old LPs. So far, I’ve listened to big band dance music, Guy Lombardo, Eddie Peabody (the master of the banjo) the Living Strings, and one cut so far from a Jackie Gleason LP (Yes, Jackie “to the moon, Alice” Gleason!) During the late 50’s and early 60’s Gleason put out a series of easy listening albums on the Capitol Label where he conducted an orchestra with a “double string section.” Needless to say, the resulting sound is very lush and romantic.
These LPs from the 50’s and 60’s have a certain sound that you just don’t hear these days. It has to do with the way they were recorded, with the sound of the “room” being a big part of the overall sound. Back when many of these LPs were recorded, the entire band or orchestra was set up in tracking room, with the mics placed in strategic locations. The reverb was provided by the room itself, recording levels were set by moving the mics around, (or having the musicians play louder or softer), and entire LPs were often recorded in two or three days, with everyone (including the lead singer) playing together.
Recording this way gave much of the music a sense of urgency, and an indication of the high level of expertise and musical empathy among the players. There was little chance to conceal errors using multiple overdubbing and “punching in.”
There’s more I’d like to say about this, so check back soon!
Posted by leon at 10:34 AM | Comments (0)
July 22, 2005
Lone Wolf No More
I used to be a “Lone Wolf” musically. I liked to do everything alone. Maybe this former preference had its root in my training as a classical pianist. After all, I would take lessons one-on-one with the teacher; practice alone (especially at college, where I would use a practice room and lock myself away from the rest of the world), perform alone, study new music alone, and ultimately compose music alone.
Alone In the Studio
When I started SCM studio in 1990 (then called the “S.O.L.O. Productions Studio”), I still worked alone. I used to produce accompaniment tracks for original songs, and by using MIDI and a bank of synths, along with my Atari 1040ST computer (!); I was able to produce these backing tracks all alone. I didn’t have the right equipment for recording vocals yet, so I very rarely had anyone in the studio with me.
There's People in Here With Me!
Around 1996, we added some ADATS (multi track digital recorders), and some new mics, and started doing entire recording projects in-house. Now I had actual people in the studio with me! I had to quickly learn how to make these musicians feel comfortable, and how to work on an arrangement with someone watching and / or helping me.
At first, I would ask the artist to let me work on their tracks alone, and have them listen to them when they were done. Well, not everyone wanted to work that way. Many artists wanted to be involved in the creative process right from the start. They wanted to collaborate.
Learning Musical "Give and Take"
I had to learn how to accept input on the musical direction that a track or an entire recording project was going to take. I had to learn how “bounce” ideas off of another musician or group of musicians, and how to deal with the ideas that they would try out on me. I had to learn how to accept valid criticism of my ideas (and throw away the ones that truly didn’t work!), and how to objectively evaluate the ideas from the artists.
Once I learned how to do these things well, guess what happened? The quality of my work (the arrangements, the performances, the mixes, everything!) took a dramatic leap upward! This is not to say that my work was bad before, it just lacked a certain “something.”
To this day, Sheryl and I encourage every artist who records with us to get involved in the creative process right from the start. We try to draw out of them every idea they might have about their songs, and how they want to present them. We have found that very few artists have absolutely no idea regarding how they want their songs to sound. Sometimes they may have trouble finding the right words or terms to express their ideas, but we have yet to fail in finding out what an artist really wants to hear. We take the time to listen.
Posted by leon at 11:32 AM | Comments (0)
July 21, 2005
How an NSAI Group “Critiques” a Song
An important part of our monthly NSAI meetings is when we engage in critiquing each other’s songs. The process may be valuable, but sometimes it ain’t easy!
Here’s How It Works:
Each songwriter who is presenting a song (and we usually have about 5 or 6 per meeting) passes out lyric sheets to each group member, and then a CD of the song is played. We have had some members play their song live for the group, but playing a CD is usually easier for the writer, since they don’t have to worry about giving a good performance.
Comments Must be Constructive
After the song is heard in its entirety, the group members are free to make any comments they wish. However, the comments must be constructive! They can’t just say, “Boy, that song really makes me gag!”
Group members can offer suggestions as to how the song might be improved. For example, a comment might be made concerning the lyric: “This line sounds like a cliché. Maybe that could be avoided by wording it this way.” Or, “The melody seems to have an awkward phrase here. What if you phrased it like this?” So sometimes the observations may center on the lyrics of the song, and at other times on the music.
What About the Songwriter?
So if you’re the songwriter whose song is up for comment and critique, what is your role in this process? Well, to put it succinctly, your role is to shut up and listen. This is not the time to defend your reasons for writing a line certain way, or for using that strange chord in the chorus. You, the writer, take in all that is said, and then decide on your own whether to re-write the song.
Always keep in mind that it is extremely rare (in fact, it’s never happened as far as I can remember…) for any song presented in a group meeting to be absolutely perfect first time out. Just about every song needs to be re-written, sometimes several times, in order for it to be the best song possible.
There’s a lot more I can say about re-writing, but I’ll save that for another time.
Don't forget to visit us at http://www.solocreativemedia.com!
Posted by leon at 12:11 PM | Comments (0)
July 18, 2005
The Value of a Songwriting Group
One of the highlights of our month is our NSAI meeting. We go on the first Tuesday of every month, at Sam Ash music in Orlando.
Check out what NSAI is all about at www.nashvillesongwriters.com.
One of the greatest benefits of a group like NSAI is in aligning yourself with a group of like-minded people. Everyone in our group has a similar goal: to do something with their music. We have some members who are strictly writers looking to “place” a song with a recording artist who is looking for new material, others are also performers who are not only looking to place songs, but create songs for their own use that will be effective with their audience.
It takes a bit of courage to be part of group like this. After spending time with a group of songwriters, you come away more determined to spend your time wisely to ensure your success. You realize that you need to be writing constantly and honing your craft. You need to find time to write, and time to re-write!
Also, as you listen to the songs of other members, hear the comments made and make comments, and hear the observations and critiques on your own songs, this helps you discover your weaknesses as a songwriter. While it is invaluable to discover where your weaknesses lie as a song creator, it can also be humbling and a bit painful! After all, this song you worked so hard on is a reflection of you and your abilities. Many songwriters think of the songs they have created as their “children.” If someone says something critical about one of your creations, they might as well be saying “Your kid is ugly, and you dress him funny.”
But the upside of this is that we can encourage one another in our efforts. If a group member succeeds (writes a great song, places well in songwriting contest, gets a chance to perform in a great place) then the whole group can celebrate. If a group member is having a hard time (having trouble writing, getting discouraged) the rest of the group can be an encouragement, and provide a valuable support system.
Want to become a better songwriter? Get together with other songwriters!
Posted by leon at 01:33 PM | Comments (1)
July 07, 2005
NSAI - What is it?
Last Tuesday evening was our monthly NSAI meeting.
NSAI is the Nashville Songwriters Association International. My wife Sheryl is one of the coordinators of the group; she helps organize the meetings, and takes part in planning the content.
The group usually starts each meeting with a songwriting exercise, (more on those another day) and then we spend the remainder of our time listening to and “critiquing” each other’s new songs.
By the way, don’t let the “Nashville” fool you; we are not all writers of Country Music. In our group we have songwriters who create, rock, jazz, folk, reggae, and many other styles in addition to country. NSAI is the world’s largest not-for-profit songwriter’s trade organization dedicated to serving songwriters of all genres of music.
Our group has doubled in size in the last year (we’re going to need a bigger room soon!) and I’m thrilled and amazed at the sheer amount of talent contained in the group.
I can’t over emphasize the importance of groups like this. Sheryl and I encourage every writer we work with to join.
Check out what NSAI is all about at www.nashvillesongwriters.com.
In the coming days I’ll talk about some of benefits to be had by being part of such a group, and also how this would affect your recording projects.
Posted by leon at 05:54 PM | Comments (1)
July 05, 2005
He's Not Really Crazy
I hope you all had a great 4th of July. My ears are still ringing from all the fireworks.
I’m going into the studio today to edit and mix a project by a singer-songwriter who calls himself “Crazy Roy.” He’s not really crazy, but he sure writes interesting songs. They’re kind of “stream of consciousness” type songs. They have verses and choruses in a manner of speaking, but often in the verses, Roy dispenses with such niceties as rhyme schemes, or perfect phrasing. One never knows where his songs are going to end up.
He also uses an amazingly quirky guitar tuning, one that in all my years of recording and producing I’ve never encountered. I won’t tell you what it is, since I don’t want to give away his secret. It gives his guitar playing a very distinctive sound. There’s no way to describe it, you just have to hear it!
Needless to say, his songs won’t be played on a “hit” radio station any time soon, but in their own idiosyncratic way they are well worth listening to. I find great joy and fulfillment helping artists like Roy bring their music to life.
So I’ll be spending the day working on Roy’s music, and then this evening Sheryl and I are going to our monthly NSAI meeting (Nashville Songwriters Association International) in Orlando. Sheryl is the co-coordinator of our particular chapter.
I’ll have more on NSAI (and the value of songwriting groups) tomorrow.
By the way, I'll let you all know when Roy's CD comes out!
Check out what we can do for you...
http://www.solocreativemedia.com
Posted by leon at 11:20 AM | Comments (0)