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.
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.
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.
Welcome to part two in the series of posts about making a recording. This post will talk about the roles that people play in a recording and how to define those roles. If you missed part one, you can click here to read it.
A couple of months ago Anna Freedman asked me if I would produce her first record of original music. Anna is a really accomplished musician who plays piano, sings and writes music. We worked together as teacher/student when she was in high school. Now she plays around Seattle and teaches at Creative Music Adventures as well.
I asked Anna if I could share the process of bringing this recording to fruition through a series of posts here to help folks who may be interested in recording their own music (or helping their students make recordings). She was nice enough to agree to this idea. So here is the first part of the series…
There have been times when I would feel that my rate of improvement didn’t line up with the large chunks of time I was spending at the instrument practicing. Sometimes practicing a lot isn’t enough. We need other methods to elevate our playing and bring cohesion to all the concepts we are working through.
Throwback circa 2000. I sing a country version of an Italian classic (in Italian) arranged by Matt Glassmeyer. Trombone solo was provided in essence by Randy Kapralick (not pictured for some reason that is not a good one I’m sure).
Listen to our version here:
An Italian record label reached out to The Jongleurs and asked us to do a cover on their Mina tribute album. They said we should do whatever we wanted, as long as we sang in Italian. Matt had the idea that I sang it in my Kentucky accent. I often demonstrated the twang version of French class that I attended through high school as a party trick. So this was my chance to document it on a recording in a brand new language.
Horn Arrangements: Matt Glassmeyer
Saxes: Matt Glassmeyer
Trombone: Randy Kapralick
Bass: Forrest Giberson
Drums: Eric Hastings
Keys, Voice and Mixing: Michael Stegner