4 Jul
2005
4 Jul
'05
8:10 a.m.
Last Monday 04 July 2005 09:02, james(a)dis-dot-dat.net was like:
On Sun, 03 Jul, 2005 at 10:49AM +0100, tim hall spake
thus:
Defining phases of writing, arrangement, production, recording, mixing,
mastering doesn't tie us to a way of working as mostly solo artists working
on our own, it's easy to blur these distinctions. I think it is useful to
ground the meanings of these terms for the purposes of analysing our results
and suggesting improvements.
Last Saturday 02 July 2005 16:41, Thorsten Wilms
was like:
I've never been able to work like that. I know that's the way it
should be done, with steps and definable phases, but I just have to do
everything at once. Personaly, I don't see the choice of
patches/sounds as part of
the production ... or rather it's inbetween composition/generation
and production.
I believe it's called 'arrangement'. I can't just drop something in and then work on it
later - everything
about the drums, say, has to be done as I'm doing it. So, that
includes selecting drums, getting them into the rhythm I want,
compressing them, getting any effects I want on them all or individual
drums and eq'ing it all. Often I do this at the same time I do the
bass, with all of the twiddling needed there, too.
It might just be because I have a bad memory - I'd forget what the
hell I wanted to do with things if I left it for later. That, and I
can't separate making music and producing music. To me, "over
produced" is like saying "over musical". Which is nonsense.
I have to disagree with that last statement. To me over-produced is
over-processed. It doesn't sound like you suffer from this problem. I am all
too familiar with watching a song die in the studio due to it having been
rehearsed to death before we began, then the writer decides to change an
important part of the arrangement five minutes before the red light goes on.
Then the engineer decides to compress the life out of the bass, drums and
vocals. By the time the keyboard player has done the 43rd Hammond take, the
band has lost interest. All the vocals go down flat because the producer is
obsessive about matching vowel sounds and timing, using extreme editing and
pitch correction, where none was needed. This style of arranging/production
frequently fails to come up with a final mix as there is always something to
fix or add, basically because you didn't get it right the first time.
Oops, does my stuff look big in this?
tim hall
http://glastonburymusic.org.uk