I love the studio. I love the quiet, just before the start of a session. The protruding walls, the wood- reflection, diffusion, absorption, sound redirected, reverberations cast and felt, without and within.
I love the peacefulness, the tranquility, the sanctuary it provides. I disappear, retreat into another existence, immerse myself in a planetary force of creativity where music flows freely and distraction is dismissed and unwelcome. I am free of inhibition and self-doubt, free of self-conscious regulation and restriction, free of paralyzing performance anxiety and neurotic exhortations, free of judgment in all its forms- for the moment anyway.
I like the fact that when all is said and done I have something to hold on to. That those mystical and enchanting moments that can never be recreated are captured in a tangible form and can be revisited at any time. I can return to those moments, metaphysical in nature, moments of utter joy and inspiration, moments I will treasure all my days.
Not all musicians love the studio, many describe the atmosphere as cold and sterile, they crave interaction with a live audience and feed off the energy a live audience provides. I can certainly understand this, but it’s never been the case with me. Nagging insecurity and my consistent self-editing and perfectionism persisted throughout my twenty-five years of gigging and performing in front of live audiences. The venue didn’t matter, neither did the location. Whether it was a concert, club date or festival I always felt the same: uncomfortable, awkward, unfulfilled and displaced. The audiences were always wonderful, appreciative and supportive. I’m a people person and I enjoyed meeting so many kind and engaging individuals. It wasn’t the people, it was me, I just couldn’t express or communicate my thoughts, ideas and feelings the way I wanted to. The messages didn’t translate because my anxiety always got in the way, I set the bar high and I was never satisfied. I had to find a better way- and thankfully I did.
My earliest professional forays into the studio came on the heels of my graduation from Berklee. I was hired to do some freelance work on demo sessions and it wet my appetite for what was to come. I wasn’t recording my own material at that point but I felt instantly at home and extremely comfortable in the studio. Playback was always exciting to me, hearing my parts interwoven into the whole was a thrill and I savored every opportunity I was given to be part of a studio project and contribute to the overall production of a piece. I felt a great sense of accomplishment while listening back to the tape of a Final Mix of a song or piece I played on. Tracking was heavenly and I quickly caught the recording bug.
After I left New York in ‘91 and moved back to Boston my longtime friend and co-producer David Porter (AKA DP) suggested we work together on a 3 song demo of my original material. David and I had been crisscrossing paths for years, we met during Berklee days and both ended up living in NYC after college. David moved back to Boston a couple of years before I did and we’ve both been in the area ever since. DP had been working his way up the studio ladder, first in New York and then in Boston. We worked at several studios in the Boston area and wherever DP went, I went. Eventually he became a Partner at Mix One Studios and Studio B became my second home. We’ve worked in Studio A recording drums, piano and percussion but the majority of the time we track, edit and mix in B. B has a great vibe- it’s warm, cozy and inviting. During the past eighteen years we’ve collaborated on many studio projects and worked with an impressive roster of local talent.
DP and I have always incorporated a great deal of improvisation and spontaneity into my recordings. Our approach and intent has always been to keep the music a live experience, even within the confines of a studio performance space. I write out parts all the time, they’re essential for mapping out a piece and communicating with other musicians, producers and engineers. I write out parts because they serve as a guide- for time, melody, rhythm and harmony. The parts exist, but you can take the music in many different directions. I’ve never written out a solo for myself and it’s rare that I’ll write one out for someone else. Occasionally I’ll hear something in my head that I want played but I usually leave it to the players on my projects to lay down their own solos. I write out specific changes, lines and rhythms for the music but there is always a lot of room to explore other treatments and alter ideas as we work. Even after pre-pro is completed the approach is organic and flexible, we want to stay open so we can get the best possible result. The goal is to make the best sounding music and everyone’s input and contributions are always welcome and greatly appreciated.
DP and I have developed a style of working together, we’re both guitar players and we meet on similar planes. We share a passion for and deep understanding of music. That fact that we’re also friends only enhances our musical experiences. We don’t need to verbalize much (though we can yammer endlessly), we know intuitively where we’re going and we’re in sync with just about everything.
Much has been written about the technical aspects of recording. A myriad of “how-to” manuals are available to neophytes and seasoned professionals alike. These instructional primers are revised and updated as recording technology breaks new ground. A lot has also been said about the need for preparedness in terms of scheduling and meeting deadlines and budgets. Many resources have been made available on these and other related topics, but very little has been told about the things you don’t anticipate or expect, the things you can’t prepare for. Yes, technology has changed considerably over the years. DP and I have certainly run the gamut of recording equipment, systems and media- analog tape, digital tape, Pro Tools HD. Cassettes, Reels, DATs, CDs, MP3s, WAV files, etc. Whether we’ve used Digital Performer for MIDI Sequencing, miked a Fender amp and tracked a Strat using a Tascam D-88, gone direct into a board or edited and mixed in Pro Tools HD some things haven’t changed and they will undoubtedly never change. I’m talking of course about people, musicians specifically, and all of the glorious, colorful dynamics that arise out of interacting with musicians. The other factor I’m referring to is the UNKNOWN. Dealing with various recording/mixing processes and techniques, software, studio gear and a multitude of creative personalities will test you in ways you never imagined. You come to expect the unexpected, and you need to be somewhat elastic and always maintain your sense of humor if you plan on being successful in your studio endeavors. Throughout the past eighteen years a lot has happened within those quiet, padded, protruding walls. I’d like to share some of my stories and insights with you….
Recent Comments