Securing a Guitarist and Bass Player

Even though I shall be playing the majority of acoustic guitar on this project, I am no expert on electric guitar and could really do with another perspective on some of my songs. I had someone in mind for the job straight away and his name is Robbie Caswell-Jones. I had originally met Robbie in first year after seeing him perform at a local gig. I was impressed by his work and range of instruments that he played so I discussed this with him afterwards. I kept his contact details via facebook, and when commencing this project, his was the first name that came to my head.

It was difficult to arrange times to meet and rehearse as Robbie himself is also a third year student and has academic demands as well. However we managed to arrange to meet up regularly at each others houses to rehearse parts for the songs.

Pre-production is an aspect in this project that will be difficult to fulfil as I would hope in a professional environment. Without the support of a big budget behind me to pay the session musicians and the ability the book out the studio for long periods I would mainly have to arrange the songs myself and express my opinions and thoughts to session musicians via email. This is not ideal however it presents a challenge that I am willing to overcome and just endorses one of my learning outcomes further which involves my ability to arrange instruments to a high standard.

As Lipson says,

‘The arrangement has to be exactly right, unquestionably.’ (Lipson in Burgess, 2013)

A fact which Burgess himself echoes,

‘Given a strong song and artist, influence over the arrangement is one of the most powerful tools a producer has and can spell the difference between success and failure.’

Much of the arrangement will have to be achieved via subtle suggestions to the performers on the day as I do have specific ideas as to how I would like each track to sound. I can also achieve this in the editing stage. If I ask the performers to play with different styles and feel, I can take the best bits of each take and compile (or ‘comp’ for short) my ideal arrangement. These techniques shall hopefully overcome¬†the issues I have with pre-production.

 

References:

Burgess, (2013) The Art of music production: New York, Oxford University Press,

 

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