Practicing and performing should not be that different from each other when it comes to our musical approach. I believe that standards for energy, emotion, execution and creativity shouldn’t change that much between our practice room repetitions and the stage. If someone were to eavesdrop on a practice sessions, they should feel like they’re hearing us perform. However, they shouldn’t hear us sounding perfect or even good.
As endless and overwhelming as music can get, sometimes it feels really good to just let things fly on a simple blues with good friends. This recording is of a song I wrote called “Dead Man Blues”. Hopefully it will make it onto a record soon. In the meantime, you can check it out here…
This post in the recording series will be on recording MIDI. MIDI recordings give us a lot of power when it comes to creating high-quality recording. If you come from generations where MIDI means stiff, rigid or unmusical recordings; get over those conceptions. Things have changed.
After the post last week about recovering from bad performances, several folks have asked for more information and specifics in regards to the approaches I mentioned. This post will be part of a series on methods we can use to treat each practice session and/or rehearsal as a performance – hopefully making each performance less tense and more rewarding in the process.
The last post on recording yourself with your computer covered the basics when using the built-in computer/pad/phone microphones. This post will cover what you will need to record to your computer with more high-quality microphones. This post includes a lot of images or reference. If you are receiving this via email and can’t see the images, click here.
Poor performances can send shock waves through our system. Any of us who have played music for a long time can probably share multiple horror stories in regards to performances. The culprits range from things outside of our control to things we are directly responsible for. Either way, it usually feels horrible.
One of my more recent projects has been creating a suite of electronic music pieces that are meant to be music to sleep or relax to. I’ve been enjoying the process so much because it forces a unique approach to writing and recording.
This song “a bac” is one that I wrote a while back for a project called Spirit Tuck. This version is a reworking of the song. For this recording I recorded a lot of strange sounds from my voice, scissors, a metal-framed chair and some field recordings from outside my window.
Here is the video and song…
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For the next series of mid-week posts I’m going to cover how to record yourself using a computer. I feel like this is something that is essential for most performers and teachers today. I know there are a ton of tutorials out there on this right now. This is going to be very basic for people new to the process.
The first time I hosted a masterclass for my students where they worked with a guest artist, I remember feeling a little confused and disappointed. There were several times during the event when the guest would point out the most obvious things a student needed to do to improve their performance. Because these areas discussed were so obvious, it wasn’t the first time the students had heard about them. However, the students reacted to this instruction in the masterclass way differently than when I had I brought them up in the lessons. It was if they had never realized that these things needed work and they were suddenly eager to improve.