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01/20/2010

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Matt Brock

Brilliant, Charlie. Thanks to you and your team for such a beautiful project.

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This is an great post. Exactly what I come here for. Thanks!

Don Chaffer

Before I moved to Nashville, on the last day in the old studio in Kansas City, after everything was moved out, my engineer, Greg and I sat on the floor of the empty control room and reminisced. We realized that our favorite moments in that space were all live tracking moments, especially the ones with no click, and no headphones- people in a room with instruments and voices. They were always the times that I felt the actual magic of doing what I love to do, which is to make music.

At those times, yes, there are physical realities: overtones, resonances, shared air. And yes, there are musical realities: one musician hears another and responds, and the shape of the whole thing takes an unexpected communal shape. But beyond even those things, there was often another intangible reality at play. People close their eyes. They bathe in the decay of the last note as the song dies off. It feels both very human and superhuman at the same time. There is a real sense of soul, or spirit, in the room.

God, I love that stuff.

Anyway, good one, Charlie. Nice to hear stories like this one.

Judah

Well said, couldn't agree more with your perspective. The soul of the artist is what the listener perceives foremost in good music. The arrangement should clarify, not confuse/distort/overwhelm the vibe.

Keith

YES YES YES!!!

I am as guilty as anyone of playing god with record production but there is such a hunger in me to produce this kind of music. I'll admit, I feel far down the road of slick production that when I try to jump ship and record something pure and emotional, I have trouble fighting the urge to clean it up.

Just a few weeks ago I was recording a great song with a lot of vibe and heart. I punched after the bridge and didn't realize that the click was not on. I was SOO energized by the performance and how dynamics, skill and TEMPO SHIFT played into the energy of the song that I decided to leave it. For me it was like the moment at the end of Shawshank Redemption when he breaks free from prison (the shot with the rain.) It felt really good to be there that day.

I guess, I'm just trying to say THANKS for posting this in such detail. It is so incredibly inspiring!!

Ryland

This is an great post. Exactly what I come here for. Thanks!

Reid Davis

I so utterly love this way of working (or at least the results of this way of working) I cannot tell you. And I knew once you got through the first 2/3 grafs that T Bone was going to come up. He is the master of mic bleed, of sympathetic vibrations, of overtones and resonances.

I remember when I first hear him talk (ahem: preach) about all that I thought it was ridiculously outdated in an era of click tracks, immaculately clean isolation and building tracks part by painstaking part. Gillian Welch, "O Brother" and many other amazing records later, you might say that I've come around.

Andrew Camp

This is like manna sent to this young artist/arranger. My mind is officially blown.

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