Self Reflection

The aim of my project was to experiment with production techniques and to push the boundaries of my limited skills as a music producer. I chose to remix a pre-recorded version of 'Out of Focus' by my band Indigo Central because it has a strong rhythmic section, a catchy melody and the potential for radio airplay. It was recorded live in the studio by Indigo Central, creating a raw and unmediated sound. This allowed for great comparison between the original and the produced version without any changes to the actual structure of the song.

Undertaking the role of the producer was a daunting experience. As a drummer, I was used to going into the studio, recording my track and then leaving the production decisions up to the producer. Being on the production side gave me a whole new perspective. I now understand how difficult it is and how much work goes into creating the right sound and feel for a particular vision.

As I discovered through my research of the impact of the manipulation process on musicians and producers, the advance of production techniques have shifted creative control from the musicians to the producers. Through this project I was able to take full advantage of this shift and experiment with different ideas and suggestions for the song which I could never explore solely as the drummer. This experimentation not only allowed me to develop my production skills but also challenged and encouraged my own creativity.

Learning how to use and incorporate various production techniques in a short space of time without any help or advice was a huge challenge for me but it showed that when I put my mind to something I really want to do, then I can do it. Ok, so the record might not sound as great as if Dr.Dre had did it but I have really surprised myself and I am more than happy with the final product!

Hope you enjoy!

Remix complete!

I have uploaded the final remix to my bandcamp page http://drumchick.bandcamp.com/track/out-of-focus-remix which you can also access via the music player on the right hand side.

Final touches;

I added a little ostinato on a synthesizer during the breakdown section to fill in for the lack of the 'four to the floor' loop and to help the section stand out from the verse and chorus. I also added a vocal loop of the catchy phrase 'Out of focus, out of sight' at the beginning of the song to tease the audience and to keep them anticipating the entry of the vocals.

Compare the original recording and the produced version and tell me which one you prefer and why!

The bass drum and body movements

A strong bass drum sound is one of the most effective ways of creating a pulse for the listener, particularly in dance music.

Academics have acknowledged the relationship between "one's appreciation of the groove and one's physical reaction to the music that contains it" (Danielsen, 2010: 121). The impact of the bass drum in this relationship is shown through its' removal; a common technique used by DJ's to catch the audience's attention and keep them in suspense, creating a climax to its' return.

I have added an electro bass drum loop on the four notes of each bar to create the 'Four on the Floor' loop mentioned earlier, providing a steady, constant beat for listeners to dance to. To build the song to the climatic final chorus I have removed the loop during the breakdown, keeping the audience in suspense for its' return in the final chorus.

Another technique I have employed which is seen to trigger body movements through the use of the bass drum is pitch movement;

"Pitch movement can elicit a sense of physical movement and may thus strengthen the existing correspondence between a low-frequency sound and movement in a downward direction" (Danielsen, 2010: 129).

I have applied a frequency shifter, 'Infinite Downward Spiral' to the original bass drum to trigger downward body movements. You can let me know if it works!

Danielsen, A (2010) Musical Rhythm in the Age of Digital Reproduction. Surrey: Ashgate Publishing Limited

Tainted Love by Soft Cell

When looking for advice on the style of remix for Out of Focus by Indigo Central, it was suggested that I checked out Tainted Love by Soft Cell and do an electro remix.

Tainted Love was composed by Ed Cobb in 1964 for Gloria Jones, originally a Northern Soul hit. Soft Cell covered it in 1981, doing an electro remix with synthesizers and drum machines (Net Industries, 2011).

In order to do an electro remix I will add synthesizers using my MIDI keyboard, process the drums and hopefully some electro loops including the 'Four on the floor' beat which is prevalent in dance and disco beats as the "pattern invites specific responses both on and off the dance floor, and head-nodding, foot-tapping, upper-body-bouncing, and other undulating body movement patterns represent the first step in a form of 'participatory' music listening that leads directly to the urge to dance" (Danielsen, 2010: 122).

Net Industries, (2011). Soft Cell Bibliography. [Online] Available: http://www.musicianguide.com/biographies/1608003749/Soft-Cell.html [Accessed 03 May 2011].

Danielsen, A. (2010) Musical Rhythm in the Age of Digital Reproduction. Surrey: Ashgate Publishing Limited

The Vocals

The lead vocal is an important component of pop music, "it commands the listeners' attention not only because it is a human voice -it speaks- but also because it carries the lyrics of the song" (Warner, 2003: 31).

Warner identifies three techniques for recording the voice;

1st - careful and close positioning of the microphone in relation to the singer, creating a sense of intimate closeness (2003: 31).

2nd - the ‘drop in’. This enables musicians to record and edit each section separately, intensifying musical expression and accuracy (2003: 31).

3rd - ensure a relatively constant dynamic level, either by ‘riding the fader’ or dynamic compression during recording (2003: 31). I have ensured the levels of the vocals are always in balance by compressing the two main vocal tracks.

Another key characteristic of the vocals in pop music which I have employed is multi-tracking. Multi-tracking creates a richer, fuller sound with "chorus-like sonorities" (2003: 72) and in some cases an "ethereal quality of thoughts or dreams" (2003: 72).

The four vocal tracks are differentiated by panning techniques and the use of effects on the vocals such as reverb and compression.

Next, I will be working on timbre and structure!

Characteristics of pop music

Before discussing vocal multi-tracking, I thought it was important to note that the remix will be based on the characteristics of pop music.

The distinctions between pop and rock music have been identified by Timothy Warner in his book titled 'Pop Music - Technology and Creativity';

Pop

Singles

Emphasis on recording

Emphasis on technology

Artificial

Trivial

Ephemeral

Successive

Rock

Albums

Emphasis on performance

Emphasis on musicianship

Real ('authentic')

Serious

Lasting

Progressive

(Warner, 2003: 4)

The genre of the band I am mixing is a combination of pop, rock and funk. In order to create a an over-produced remix of the chosen song, I am basing the production techniques on the characteristics of pop music which is known to be highly produced.

Time Manipulation

With the advancement of technology, producers are able to edit and modify live performances in the studio using software such as Beat Detective and Elastic Audio. By doing so, artists are able to use real instruments and attain machine perfection in their recordings.

When researching the effects of time manipulation on the authenticity of a track, the question that arose was to what extent are these new sophisticated software developments open to the same criticism that it compromises the emotionality and expression in a song?

To test the theory that these developments in technology have established a ‘perfect’ balance in studio recordings and that man and machine can work in harmony, I experimented with Beat Detective and manipulated every track to its' full extent.

As the drummer, manipulating my own tracks felt quite deceitful in a way. I expected it to make the drums sounds robotic and expressionless, but because everything was recorded to a click track and remained in time throughout, I did not notice a major change.

This comes back to the point raised in my research that the manipulation process should only be used when necessary or to get a desired effect and not solely out of habit.

I am employing the manipulation process to all of the tracks as a creative process. I want to experiment with production techniques and to see at what stage the track would be considered 'over-produced'.

Now, onto vocal multi-tracking!

Remix project!

A session drummer delving into the realms of music production!

I'm doing a remix project using songs recorded by my band, Indigo Central.

As my 4th year dissertation is on the manipulation process (live instrument tracks recorded in the studio and & edited by correction software such as Elastic Audio) and its' impact on musicians and producers, I thought it would be fitting to focus my creative arts project on the same idea.

The original aim of this project was to experiment with production techniques and to explore whether audiences could identify the use of time manipulation in a track. However, the difference between the unedited track and the time edited track (see The One in the music player) was not significant enough and so I have decided to do a radio edit of one of our tracks called Out of Focus (check out the music player).

As a session drummer I have limited experience of working with production techniques and so this will be a great creative adventure for me!

Keep an eye out for updates!