2 1er octobre 2011tcpm lille recording sessions editing mixing mastering post-productionproduction...
TRANSCRIPT
Diriger l’écoute afin d’enregistrer la
meilleure performance musicale
possible
Capturing the best performance through guided
listening Amandine Pras, Catherine Guastavino
Université McGill, CIRMMT
TCPM Lille 2
Outline
Context: creation process of musical recordings Challenges of recording sessions Record producers’ role
Tracking best practices for artistic direction Interviews with 6 experienced record producers
Analysis Artistic direction Communication skills Interaction between producers and musicians
Profession in a transitional phase
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Creation process of musical recordings
Recording sessions
Editing
Mixing
Mastering
Post-production
Production
Album
8 tracks
1st piece
2nd piece
3 takes
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Editing example
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Editing Example
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Editing Example
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Across musical genres
Glenn Gould “By taking advantage of the posttaping afterthought, however, one can
very often transcend the limitations that performance imposes upon the imagination.” (1966 essay)1
Miles Davis“While jazz largely defined itself by virtuosic playing “in the moment,”
Davis began to create music by recording extended improvisations and then handing them over to his producer, Teo Macero, to edit and reassemble as he wished.” 2
BeatlesDeconstructing Sgt. Pepper (produced by George Martin between 1967 and
1973) 1Christoph Cox and Daniel Warner (Eds.) Audio Culture Readings in Modern Music. New York: Continum publisher (2004), p.118
2Idem p.113
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Challenges during recording sessions Musicians are expected to play at their best level
for several hours, longer than concert
Tiredness
Virtual audience, repeated takes of the same composition
Lack of motivation
Different perception of the result in the studio vs. through the speakers
Lack of reference
Record producer, directeur artistique, réalisteur, Tonmeister
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Intermediary Role
Aesthetic choices, specific recording
approachesListeni
ng
Hennion, A. (1989). An intermediary between production and consumption – The producer of popular-music. Science Technology & Human Values, 14(40), 400-424.
Hennion, A. (1981). Les professionnels du disque: une sociologie des variétés. A.-M. Métailié.
Unknown and massive skills
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Questionnaire on musicians’ expectations
International Jazz Workhop (different backgrounds)
16 musicians and 6 sound engineers (Meanage = 26)
Open questions In your opinion, what is the role of a music
producer?
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The ideal music producer, as perceived by young
professionals
Pras, A., Guastavino, C. (2011). The role of music producers and sound engineers in the current recording context, as perceived by young professionals,” Musicae Scientiae, vol. 15(1), pp. 73-95.
Guidance, Aesthetic context, Criticism and optimization, Extra set
of ears
Create a good atmosphere, Allow trust and honesty,
Unite all people, Help focusing
Involved and creative; Not controlling
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6 world-renowned record producers
Between 20 and 36 years of studio experience
Different musical genres
North America / Europe
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Interviews on record producers’ practices
1. In your opinion, what is your role as a music producer in the context of recording sessions?
2. In your opinion, what make a good music producer? Specifically, what are the most important skills and
qualities?
3. How would you describe your approach to achieve the best possible artistic result?
4. How would you describe your interaction with musicians? Specifically between takes of the same musical
piece/tune. How do you handle musicians’ personalities and stress?
Artistic Direction
Communication skills
Interaction between producer and musicians
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Artistic Direction-Technicality:
First make sure it’s on tune and together Comparison with a cleaning
lady-Musicality:
Watch for intensity and energy up
Proposing concepts, making suggestions
Helping them find an interpretationWork in collaboration with artists
The producer = an additional musician
Extract the best possible performance from the musicians
Reveal the most intimate part of the artists’ interpretation
Comparison with a mid-wifeLes emmener ailleurs
Understand the the projectListen first what the artists are
bringing to usBalance between standard and
reality
Sentences in italic = quotes from interviews Words in red = comparison with other professions1er octobre 2011
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What is the best performance? One that is convincing
One that transfers emotion
Objective vs. subjective
Martha de Francisco
Madonna by Leonardo da Vinci - detail
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Communication skills (1/2) Psychology to handle stress
Understand what it is to be a musician Harder to help musicians than inhibit
them Handle aggressiveness and fears Like a fireman, called for crazy situations Like the captain of a ship, stay calm and
professional even in chaotic situation
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Communication skills (2/2) Create a good environment
Like a servant, making sure musicians are comfortable
Allow trust and honesty Showing musicians that we are going for the same
collective goal: making something really great Showing them that what they do is important to us
and that we understand their art Showing them that we have good ears and
musical skills
Help focusing or help stop thinking?
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Interaction between producers
and musicians Adaptation to the situation
Size of the ensemble Type of artists, preparation level Observation phase
Adapted language and comments E.g. To a singer: “the B-flat just maybe sounds
a little too low” instead of “you’re flat!”
Intermediary role vs. managerial role Method of stage director: to release pressure
after being very demanding
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ConclusionPatrick Sigwalt’s production approach
Comparison with photograph Create appropriate environment for creativity Capture relevant instants Then edit them together
Reality Truth
Jacket of Dark Side of the Moon by Pink Floyd
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Research program
Identifying best practices to produce musical recordings in the current context of the recording industry:
Downfall of music sales, decline of record labels Only one professional to handle 3 jobs at once
(Neuenfeldt, 2007)1
Digital technology: home studios Don’t learn on the job anymore but in institutions
(Porcello, 2004)2
Impact on production quality1Neuenfeldt, K. (2007). Learning to listen when there is too much to hear: Music producing and audio engineering as engaged hearing, Media Inter. Australia, vol. 123, pp. 150-160.
2Porcello, T. (2004). Speaking of Sound, Soc. Studies of Science, vol. 34(5), pp. 733.
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References
Christoph Cox and Daniel Warner (Eds.) Audio Culture Readings in Modern Music. New York: Continum publisher (2004), (p.113 & 118)
Glaser, B. G. (1967). The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine Pub. Co.
Hennion, A. (1989). An intermediary between production and consumption – The producer of popular-music. Science Technology & Human Values, 14(40), 400-424.
Hennion, A. (1981). Les professionnels du disque: une sociologie des variétés. A.-M. Métailié.
Neuenfeldt, K. (2007). Learning to listen when there is too much to hear: Music producing and audio engineering as engaged hearing. Media International Australia, (123), 150-160.
Patmore, D., & Clarke, E. (2007). Making and hearing virtual worlds: John Culshaw and the art of record production. Musicae Scientiae, 11(2), 269-293.
Pras, A., Guastavino, C. (2011). The role of music producers and sound engineers in the current recording context, as perceived by young professionals. Musicae Scientiae, 15(1), 73-95.
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Opera recordings by John Culshaw
Culshaw set design for his 1960 recording of Wagner’s Tristan and Isolde. Courtesy of Decca Music Group.
Patmore, D., & Clarke, E. (2007). Making and hearing virtual worlds: John Culshaw and the art of record production, Musicae Scientiae, 11(2), 269-293.
Act I
Act II
Act III
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