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"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message


Interesting to note that the "1 000 recordings" which
you mentioned last year, have now expanded to "several
thousand recordings "

That's what happens when you make recordings at the rate
of 40-80 a week for a few weeks.

80 a week? Gadzooks!

What about the planning and pre-production?

Little to none.

What about recording rehearsals?

none, definately.

What about post production planning,

none, there is no post-production.

What about editing and mastering?

none. All editing is done with the front panel controls of a standard
professional CD recorder.

If there are any technical problems during the performance, a safety
recording is used to recover.

Most of us take a week to ten days on a single project,
sometimes longer - much much longer.

Iain, what did you personally do during that week?

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"Keith G" wrote in message


No, that's individual recordings apparently; he does two
or three 'sessions' (projects?) a week - is what I was
told.

1 festival runs 2-3 days. Sometimes I do 2 festivals a week.

Typically maybe 40-60 recordings, 1 per group, per festival.

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"Don Pearce" wrote in message
...
On Tue, 19 Jan 2010 20:33:48 +0200, "Iain Churches"
wrote:


"Laurence Payne" wrote in message
. ..
On Sun, 17 Jan 2010 09:10:51 GMT, (Don Pearce) wrote:

Against that structure the soloist can then extemporize hugely -
sometimes even waiting a whole bar before starting a phrase - and it
still all hangs together. Strangely, though, it never sounds right for
the soloist to start a phrase early; there is some psychological thing
happening there.

I don't think you'd have to search TOO long to find a case where the
soloist started with a pick-up in the preceding bar.

It's very common, and not a mistake- that's how you get 13
bar solos in a blues:-)


Blues... Now Jack Bruce, one of the greatest blues bass players ever,
frequently played a wrong note. He would then simply repeat that wrong
note over the next few bars just to show how he really meant it.

That's done in jazz too. Thelonious Monk was a master, not
so much of wrong but unexpected notes and chords. He
referred to it as "establishing atonal logic"

Between him and Ginger Baker (in Cream, of course) they would
frequently play a different beat (4/4 and 7/8 quite often) so that the
whole thing drifted in and out of sync every 15 bars or so.

Amazing. That takes some doing - a lot of practice and concentration.

Session drumers earn good extra money by percussion overdubs. I
worked on a session with a drummer called Tony Carr. There was only
a few mins left of session time, and we still had a triangle and tambourine
overdub to do. TC said, "Don't worry, I can do them both at once on
two mics, if you set them up" We did, and he did! He had the triangle
on a stand, and played fours with a beater, going round in a clockwise
motion inside the triangle. So that the first, accented, beat of each bar
moved forward one side. As if that is not hard enough, he beat the
tambourine against his thigh in twos. Only one take was needed -
we finished early:-)

Iain

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On Tue, 19 Jan 2010 21:56:26 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...
On Tue, 19 Jan 2010 20:33:48 +0200, "Iain Churches"
wrote:


"Laurence Payne" wrote in message
...
On Sun, 17 Jan 2010 09:10:51 GMT, (Don Pearce) wrote:

Against that structure the soloist can then extemporize hugely -
sometimes even waiting a whole bar before starting a phrase - and it
still all hangs together. Strangely, though, it never sounds right for
the soloist to start a phrase early; there is some psychological thing
happening there.

I don't think you'd have to search TOO long to find a case where the
soloist started with a pick-up in the preceding bar.

It's very common, and not a mistake- that's how you get 13
bar solos in a blues:-)


Blues... Now Jack Bruce, one of the greatest blues bass players ever,
frequently played a wrong note. He would then simply repeat that wrong
note over the next few bars just to show how he really meant it.

That's done in jazz too. Thelonious Monk was a master, not
so much of wrong but unexpected notes and chords. He
referred to it as "establishing atonal logic"

Between him and Ginger Baker (in Cream, of course) they would
frequently play a different beat (4/4 and 7/8 quite often) so that the
whole thing drifted in and out of sync every 15 bars or so.

Amazing. That takes some doing - a lot of practice and concentration.

Session drumers earn good extra money by percussion overdubs. I
worked on a session with a drummer called Tony Carr. There was only
a few mins left of session time, and we still had a triangle and tambourine
overdub to do. TC said, "Don't worry, I can do them both at once on
two mics, if you set them up" We did, and he did! He had the triangle
on a stand, and played fours with a beater, going round in a clockwise
motion inside the triangle. So that the first, accented, beat of each bar
moved forward one side. As if that is not hard enough, he beat the
tambourine against his thigh in twos. Only one take was needed -
we finished early:-)


Nice when people really know what they are doing.

d

Music download sites offering CD quality.
 

"Don Pearce" wrote in message
...
On Tue, 19 Jan 2010 21:56:26 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...
On Tue, 19 Jan 2010 20:33:48 +0200, "Iain Churches"
wrote:


"Laurence Payne" wrote in message
m...
On Sun, 17 Jan 2010 09:10:51 GMT, (Don Pearce) wrote:

Against that structure the soloist can then extemporize hugely -
sometimes even waiting a whole bar before starting a phrase - and it
still all hangs together. Strangely, though, it never sounds right for
the soloist to start a phrase early; there is some psychological thing
happening there.

I don't think you'd have to search TOO long to find a case where the
soloist started with a pick-up in the preceding bar.

It's very common, and not a mistake- that's how you get 13
bar solos in a blues:-)


Blues... Now Jack Bruce, one of the greatest blues bass players ever,
frequently played a wrong note. He would then simply repeat that wrong
note over the next few bars just to show how he really meant it.

That's done in jazz too. Thelonious Monk was a master, not
so much of wrong but unexpected notes and chords. He
referred to it as "establishing atonal logic"

Between him and Ginger Baker (in Cream, of course) they would
frequently play a different beat (4/4 and 7/8 quite often) so that the
whole thing drifted in and out of sync every 15 bars or so.

Amazing. That takes some doing - a lot of practice and concentration.

Session drumers earn good extra money by percussion overdubs. I
worked on a session with a drummer called Tony Carr. There was only
a few mins left of session time, and we still had a triangle and
tambourine
overdub to do. TC said, "Don't worry, I can do them both at once on
two mics, if you set them up" We did, and he did! He had the triangle
on a stand, and played fours with a beater, going round in a clockwise
motion inside the triangle. So that the first, accented, beat of each bar
moved forward one side. As if that is not hard enough, he beat the
tambourine against his thigh in twos. Only one take was needed -
we finished early:-)


Nice when people really know what they are doing.


Before Christmas I took part in a music and recording
seminar. One of the lectures was entitled
"Knowing Your Place"

It was not, as one might have thought, anything to do
with "orchestral pecking-order" or hierarchy, or even
which seat to sit in, but a talk to help young players
become quickly familiar with a piece of music set before
them for the first time. He listed many caveats, and
pointers to look for, starting of course with the initial time
and key signatures, and warned one to look out for
changes in particular alla breve (cut common) where
the tempo doubles without warning. He went on to
discuss the necessity to keep an eye open for repeat bars,
Segno, Coda, and the necessity to count all the time.

Then came the bit that I found especially of interest.
He said, "As a conductor, I hate to see players tapping
their feet. I urge you _all_ to develope the habit. But don't
tap one foot, tap both alternately. If you tap just one foot,
and the timing gets complex, you will not be able to
differentiate between the first or second beats. So, in
common time, tap on the beat, one and three with
the right foot (just as drummers do) and the two off
beats 2 and 4 with the left foot." If you can tap and
count, you will always know your place

Then he said: "This takes a bit of practice.
Having mastered it, I urge you all to tap just your toes,
inside your shoes, so no one can see what you are doing.
As a conductor, I hate to _see_ people tapping their feet"

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"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message


Interesting to note that the "1 000 recordings" which
you mentioned last year, have now expanded to "several
thousand recordings "

That's what happens when you make recordings at the rate
of 40-80 a week for a few weeks.

80 a week? Gadzooks!

What about the planning and pre-production?

Little to none.

Vital for a sucessful result.

What about recording rehearsals?

none, definately.

The finest professional orchestras with
players whol know the standard
repertoire well, and can sight-read almost
anything, rehearse intensively before recording.
So do the recording personnel - it's
attention to detail tha makes a fine recording.

So how can anyone, especially amateurs hope
to achieve anything resembling a semi decent
performance without proper recording
rehearsal?

What about post production planning,

none, there is no post-production.

????????


What about editing and mastering?

none. All editing is done with the front panel controls of a standard
professional CD recorder.


I am starting to understand why your work sounds
like it does. It's clear that recording quality and
performance standards are of little or no
concern to you, Arny That's very sad:-(

Music download sites offering CD quality.
 

"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message


Interesting to note that the "1 000 recordings" which
you mentioned last year, have now expanded to "several
thousand recordings "

That's what happens when you make recordings at the
rate of 40-80 a week for a few weeks.

80 a week? Gadzooks!

What about the planning and pre-production?

Little to none.

Vital for a successful result.

What about recording rehearsals?

none, definitely.

The finest professional orchestras with
players whol know the standard
repertoire well, and can sight-read almost
anything, rehearse intensively before recording.

If you haven't figured it out already Iain, I'm not dealing with a
professional orchestra of any magnitude. Of course I know about the
capabilities of those folks.

So do the recording personnel - it's
attention to detail that makes a fine recording.

If you haven't figured it out already Iain, I'm not trying to make fine
recordings. If I were, my priorities would be all wrong.


So how can anyone, especially amateurs hope
to achieve anything resembling a semi decent
performance without proper recording
rehearsal?

I don't believe that the music in question is anything resembling a
semi-decent performance by professional standards.

What about post production planning,

none, there is no post-production.

????????


What about editing and mastering?

none. All editing is done with the front panel controls
of a standard professional CD recorder.

I am starting to understand why your work sounds
like it does.

Iain, the recordings I make are working tools for people with very limited
resources.

It's clear that recording quality and
performance standards are of little or no
concern to you, Arny

Iain, I love music and love hearing it performed excellently. Unfortunately,
that's not what I am tasked to do at this time.

That's very sad:-(

It is called reality, Iain. Try it some time! ;-)