Diriger l’écoute afin d’enregistrer la

meilleure performance musicale

possible

Capturing the best performance through guided

listening Amandine Pras, Catherine Guastavino

Université McGill, CIRMMT

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Outline

Context: creation process of musical recordings Challenges of recording sessions Record producers’ role

Tracking best practices for artistic direction Interviews with 6 experienced record producers

Analysis Artistic direction Communication skills Interaction between producers and musicians

Profession in a transitional phase

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Creation process of musical recordings

Recording sessions

Editing

Mixing

Mastering

Post-production

Production

Album

8 tracks

1st piece

2nd piece

3 takes

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Editing example

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Editing Example

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Editing Example

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Across musical genres

Glenn Gould “By taking advantage of the posttaping afterthought, however, one can

very often transcend the limitations that performance imposes upon the imagination.” (1966 essay)1

Miles Davis“While jazz largely defined itself by virtuosic playing “in the moment,”

Davis began to create music by recording extended improvisations and then handing them over to his producer, Teo Macero, to edit and reassemble as he wished.” 2

BeatlesDeconstructing Sgt. Pepper (produced by George Martin between 1967 and

1973) 1Christoph Cox and Daniel Warner (Eds.) Audio Culture Readings in Modern Music. New York: Continum publisher (2004), p.118

2Idem p.113

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Challenges during recording sessions Musicians are expected to play at their best level

for several hours, longer than concert

Tiredness

Virtual audience, repeated takes of the same composition

Lack of motivation

Different perception of the result in the studio vs. through the speakers

Lack of reference

Record producer, directeur artistique, réalisteur, Tonmeister

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Intermediary Role

Aesthetic choices, specific recording

approachesListeni

ng

Hennion, A. (1989). An intermediary between production and consumption – The producer of popular-music. Science Technology & Human Values, 14(40), 400-424.

Hennion, A. (1981). Les professionnels du disque: une sociologie des variétés. A.-M. Métailié.

Unknown and massive skills

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Questionnaire on musicians’ expectations

International Jazz Workhop (different backgrounds)

16 musicians and 6 sound engineers (Meanage = 26)

Open questions In your opinion, what is the role of a music

producer?

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The ideal music producer, as perceived by young

professionals

Pras, A., Guastavino, C. (2011). The role of music producers and sound engineers in the current recording context, as perceived by young professionals,” Musicae Scientiae, vol. 15(1), pp. 73-95.

Guidance, Aesthetic context, Criticism and optimization, Extra set

of ears

Create a good atmosphere, Allow trust and honesty,

Unite all people, Help focusing

Involved and creative; Not controlling

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6 world-renowned record producers

Between 20 and 36 years of studio experience

Different musical genres

North America / Europe

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Interviews on record producers’ practices

1. In your opinion, what is your role as a music producer in the context of recording sessions?

2. In your opinion, what make a good music producer? Specifically, what are the most important skills and

qualities?

3. How would you describe your approach to achieve the best possible artistic result?

4. How would you describe your interaction with musicians? Specifically between takes of the same musical

piece/tune. How do you handle musicians’ personalities and stress?

Artistic Direction

Communication skills

Interaction between producer and musicians

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Artistic Direction-Technicality:

First make sure it’s on tune and together Comparison with a cleaning

lady-Musicality:

Watch for intensity and energy up

Proposing concepts, making suggestions

Helping them find an interpretationWork in collaboration with artists

The producer = an additional musician

Extract the best possible performance from the musicians

Reveal the most intimate part of the artists’ interpretation

Comparison with a mid-wifeLes emmener ailleurs

Understand the the projectListen first what the artists are

bringing to usBalance between standard and

reality

Sentences in italic = quotes from interviews Words in red = comparison with other professions1er octobre 2011

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What is the best performance? One that is convincing

One that transfers emotion

Objective vs. subjective

Martha de Francisco

Madonna by Leonardo da Vinci - detail

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Communication skills (1/2) Psychology to handle stress

Understand what it is to be a musician Harder to help musicians than inhibit

them Handle aggressiveness and fears Like a fireman, called for crazy situations Like the captain of a ship, stay calm and

professional even in chaotic situation

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Communication skills (2/2) Create a good environment

Like a servant, making sure musicians are comfortable

Allow trust and honesty Showing musicians that we are going for the same

collective goal: making something really great Showing them that what they do is important to us

and that we understand their art Showing them that we have good ears and

musical skills

Help focusing or help stop thinking?

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Interaction between producers

and musicians Adaptation to the situation

Size of the ensemble Type of artists, preparation level Observation phase

Adapted language and comments E.g. To a singer: “the B-flat just maybe sounds

a little too low” instead of “you’re flat!”

Intermediary role vs. managerial role Method of stage director: to release pressure

after being very demanding

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ConclusionPatrick Sigwalt’s production approach

Comparison with photograph Create appropriate environment for creativity Capture relevant instants Then edit them together

Reality Truth

Jacket of Dark Side of the Moon by Pink Floyd

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Research program

Identifying best practices to produce musical recordings in the current context of the recording industry:

Downfall of music sales, decline of record labels Only one professional to handle 3 jobs at once

(Neuenfeldt, 2007)1

Digital technology: home studios Don’t learn on the job anymore but in institutions

(Porcello, 2004)2

Impact on production quality1Neuenfeldt, K. (2007). Learning to listen when there is too much to hear: Music producing and audio engineering as engaged hearing, Media Inter. Australia, vol. 123, pp. 150-160.

2Porcello, T. (2004). Speaking of Sound, Soc. Studies of Science, vol. 34(5), pp. 733.

Thanks for listeningcomments, questions?

Amandine.Pras@mail.mcgill.cawww.amandinepras.com

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References

Christoph Cox and Daniel Warner (Eds.) Audio Culture Readings in Modern Music. New York: Continum publisher (2004), (p.113 & 118)

Glaser, B. G. (1967). The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine Pub. Co.

Hennion, A. (1989). An intermediary between production and consumption – The producer of popular-music. Science Technology & Human Values, 14(40), 400-424.

Hennion, A. (1981). Les professionnels du disque: une sociologie des variétés. A.-M. Métailié.

Neuenfeldt, K. (2007). Learning to listen when there is too much to hear: Music producing and audio engineering as engaged hearing. Media International Australia, (123), 150-160.

Patmore, D., & Clarke, E. (2007). Making and hearing virtual worlds: John Culshaw and the art of record production. Musicae Scientiae, 11(2), 269-293.

Pras, A., Guastavino, C. (2011). The role of music producers and sound engineers in the current recording context, as perceived by young professionals. Musicae Scientiae, 15(1), 73-95.

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Opera recordings by John Culshaw

Culshaw set design for his 1960 recording of Wagner’s Tristan and Isolde. Courtesy of Decca Music Group.

Patmore, D., & Clarke, E. (2007). Making and hearing virtual worlds: John Culshaw and the art of record production, Musicae Scientiae, 11(2), 269-293.

Act I

Act II

Act III

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