audiot

while i was searching for some tutorials about a few special things i wanted to include in the record i’m currently working on, i found this one here. it’s really helpful if you’re trying to mix your own stuff or wanting to get into the whole guerrilla recording thing. very basic stuff that works with every parametric eq. you might find it a bit annoying at first, but he does that to make a point – i’m glad i didn’t turn it off right away :-)

i just finished recording rhythm-guitar for the first song of “traitor”, i played ten tracks, threw two of them away and kept the other eight – not sure if i’ll use them all, though. there are lots of bits and pieces for this new album i already recorded, but until now i wasn’t sure what this album would sound like. during the last few weeks i was messing around with all kinds of ideas but now it became quite obvious where this will go. this little tracking-session today made it very clear that this will be a straightforward, lowdown and dirty hardrock album.

the funny thing about this is, i stopped being a rock-musician years ago. and since then i’m listening to everything with the same amount of interest, i’m playing everything with the same amount of ‘being into it’. but beyond all that there’s some unfinished business i suppose. songs i wrote during my rock-phase for instance, like 15 years ago… i don’t even like those songs anymore, but i still love the feel of some of them or some parts, riffs, licks or whatever. and since that time, whenever i’ve picked up a guitar, some of those old ideas snuck up on me. so now i’m making peace with myself by finally doing a record with all that stuff – hoping those ghosts from the past will leave me alone at last :-)

nah, don’t gimme that “so, now you’re trying to palm off old and rotten stuff on me?” because that’s not what this is. there won’t be a single one of those old songs on the record, as i said before, i don’t like them anymore. i will, though, write new material with some of those riffs, ideas etc. included. what will mostly remain of the old stuff is the feel. suffice it to say i was quite an angry young loon back then. but don’t panic! i’m already thinking about the third album which will be completely different – again. this second one is basically about getting something off my chest and be done with it. on the other hand – recording this dirty stuff was kind of fun……………..

sounds ridiculous, right? i never thought about this before, but a few days ago i went to see a band and that got me thinking…

they should remain anonymous because this is no review about this gig and i don’t want anyone to directly connect them to what i’m gonna say here. so let’s just say there was a live-show that triggered the following thoughts…

as a matter of fact i never heard of them before, when a friend told me they were playing some place near us, so we decided to have a look. first i must say, the place was crowded and the people were in a great mood right from the start. we went in, stood there for a couple of songs, then looked at each other and thought exactly the same thing: why does this work for anybody except us? the audience loved it, they were screaming and singing along…..we were kind of bored. i then asked my friend what he was thinking and he said the very word i would have come up with – slick. no doubt, the performance was flawless – well, pretty much. we detected very few minor mistakes, nothing worth mentioning. it all was really well arranged, really well played and sounded very tidy and, well, slick.

it took a few more songs to find out what was missing (for me/us). there was no edge, no character, no feeling. ok, this is a bit harsh i guess. but it reminded me of my early recording experiences years ago. when i would lay down a performance and then cut off and delete anything that seemed not essential for the part, meaning fingernoise on the guitar or breathing during vocal-takes. so in the end i would have a flawless, tidy take with notes only – nothing else. and it would always sound like shit! why? simply because i deleted everything human in it. what is it with us musicians? we’re building drummachines that play better than any drummer (in terms of timing and precision of course…) and then we’re spending decades trying to add random flaws to it – giving it a human factor, controlled by unbelievably complex algorithms. on the other hand we’re playing something and then try to make it as machine-like as possible, erasing the human factor as good as we can (pitch-correction, quantizing etc.) – what is that? why is that? is this really it? or are we just too stupid?

when it comes to recording, i’m still figuring this out for myself – making this same decision for every bit i’m tracking and it’s very well possible that i would make a different one for the same take on another day. so at least there’s a human factor in deciding if a human factor should be involved :-)

anyhoo, my answer to the question is YES! there is such a thing as a too good performance. it’s just a matter of how one defines ‘good’. wow, this is getting more complicated than i thought – it seems there should be a second part to this, so here’s your chance to think about it yourself :-)

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