After I had finished recording pedal steel, Jake Greenan came straight into the studio and we recorded his saxophone parts for Quicksand and Wind In Our Sails. I had sent him the score for the songs previously, as well as the songs themselves so he was fully ready for the recording. Here’s a short example of one of the sections I sent over to him:
We riffed over other ideas in the control room as well and took the song part by part, layering different parts when required.
I used the Neumann U87 to record the saxophone and placed it just above the bell of the sax, as recommended by White,
‘A typical brass instrument has a flared bell to produce the maximum sound level from the player’s efforts. High frequency harmonics are strongest directly in front of the bell…’ (White, 2012)
I was pleased with the results and we managed to get some great recordings.
I was also happy that I had managed to fulfil all three of my roles in one session, from organising the score and artists in A&R, setting up microphones and general engineering work, and finally my creative role of a producer in running the session and arranging the parts. I truly believe I am fulfilling all three aspects which also means I am answering to my learning outcomes and objectives.
White, P. (2012). The Producer’s Manual. London: Sample Magic.