learning experience
on the flight back to austin, i debriefed my self on the record-making process. this is an updated and expanded version of that interpretation. i encourage all who participated or observed to extend this discussion. the more we learn the better we can become.
1) more time for vocals
the vocals on this record came out miraculously, especially considering the limited time and concentration we had to develop the material and production values. by the end, though, we were really in a groove. tackling a harmony-heavy track like ATHP was really a good way to become effecient in the process. and the result, executive.
2) more time
always a luxury. but can a surplus bring laziness? at what pace should we record if time were not an issue?
3) write in studio?
the epitomy of studio luxury is the 'writing in the studio' mode of production. the beatles, radiohead... and countless other bands, many of which suck. too much time can breed too much perfection, at the expense of greatness.
4) better ergonomics
sitting on the couch all day, though not without its comforts (thanx for the backrubs, amy!), is not really a long term solution. all in all, i recommend a longer period of preperation for a session. perhaps a chair.
5) grocery shopping
and on that note, some canned soup would go a long way. we ended up buying water and chips, but much of the studio time was spent scared of the chips. how do they make those, anyway?
6) a less-temporary location.
this record was shot 'on location' by a camcorder not running video. we were at the middle-school band room, letting it all out. but then we had to load gear each day for as many hours as we recorded. we got good at it.
staying in one place could have its downsides, both sonic and otherwise. lethargy is one of the feelings that kills a record. you've got to work quickly enough to avoid lethargy. perhaps more time would bring more focus? i'm just beginning to explore the virtues of multiple takes. maybe we should do 50 - like george martin. yes, i do fancy the fab four. is it possible to comp live takes? would require a drum machine. fuck drum machines.
7) days off
to recuperate. sleep on the other-hand, is also a luxury, towards the end.
verdict: having more ti;ll;j['me would be nice, but a deadline doesn't hurt either. ldsal;kasjf [';lasf '[ \ as
asdf;l as
f ] [asdf'k
;asdf;l ]
opj;'
' [pdoflj ;lkj k]
' ]
excuse me, i was just practice using the backsace with my pinky. i'm relearning after the carpal tunnel syndrome i've been experienced after long periods of no exercize. keyboard. mouse via usb. i can't believe i didn't think of plugging some of greg's outboard control surfaces. the mouse and the knob. could have saved a lot of clicking, and a lot or wrist twisting.
1) more time for vocals
the vocals on this record came out miraculously, especially considering the limited time and concentration we had to develop the material and production values. by the end, though, we were really in a groove. tackling a harmony-heavy track like ATHP was really a good way to become effecient in the process. and the result, executive.
2) more time
always a luxury. but can a surplus bring laziness? at what pace should we record if time were not an issue?
3) write in studio?
the epitomy of studio luxury is the 'writing in the studio' mode of production. the beatles, radiohead... and countless other bands, many of which suck. too much time can breed too much perfection, at the expense of greatness.
4) better ergonomics
sitting on the couch all day, though not without its comforts (thanx for the backrubs, amy!), is not really a long term solution. all in all, i recommend a longer period of preperation for a session. perhaps a chair.
5) grocery shopping
and on that note, some canned soup would go a long way. we ended up buying water and chips, but much of the studio time was spent scared of the chips. how do they make those, anyway?
6) a less-temporary location.
this record was shot 'on location' by a camcorder not running video. we were at the middle-school band room, letting it all out. but then we had to load gear each day for as many hours as we recorded. we got good at it.
staying in one place could have its downsides, both sonic and otherwise. lethargy is one of the feelings that kills a record. you've got to work quickly enough to avoid lethargy. perhaps more time would bring more focus? i'm just beginning to explore the virtues of multiple takes. maybe we should do 50 - like george martin. yes, i do fancy the fab four. is it possible to comp live takes? would require a drum machine. fuck drum machines.
7) days off
to recuperate. sleep on the other-hand, is also a luxury, towards the end.
verdict: having more ti;ll;j['me would be nice, but a deadline doesn't hurt either. ldsal;kasjf [';lasf '[ \ as
asdf;l as
f ] [asdf'k
;asdf;l ]
opj;'
' [pdoflj ;lkj k]
' ]
excuse me, i was just practice using the backsace with my pinky. i'm relearning after the carpal tunnel syndrome i've been experienced after long periods of no exercize. keyboard. mouse via usb. i can't believe i didn't think of plugging some of greg's outboard control surfaces. the mouse and the knob. could have saved a lot of clicking, and a lot or wrist twisting.
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