Diriger l’écoute afin d’enregistrer la meilleure performance musicale possible Capturing the best performance through

1. Diriger l’écoute afin d’enregistrer la meilleure performance musicale possibleCapturing the best performance through guided listening Amandine Pras, Catherine Guastavino Université McGill, CIRMMT

2. 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 TCPM Lille

3. Creation process of musical recordings Production Post-production Mixing Recording sessions Mastering Editing 1st piece 8 tracks 3 takes 2nd piece Album TCPM Lille

4. Editing example TCPM Lille

5. Editing Example TCPM Lille

6. Editing Example TCPM Lille

7. 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, TeoMacero, to edit and reassemble as he wished.” 2 • Beatles Deconstructing 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 TCPM Lille

8. 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, directeurartistique, réalisteur, Tonmeister TCPM Lille

9. Intermediary Role Unknown and massive skills Aesthetic choices, specific recording approaches Listening 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. TCPM Lille

10. 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? TCPM Lille

11. The ideal music producer, as perceived by young professionals 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 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.

12. 6 world-renowned record producers • Between 20 and 36 years of studio experience • Different musical genres • North America / Europe TCPM Lille

13. 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 TCPM Lille

14. Artistic Direction Understand the the project Listen first what the artists are bringing to us Balance between standard and reality -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 interpretation Work 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-wife Les emmenerailleurs Sentences in italic = quotes from interviews Words in red = comparison with other professions TCPM Lille

15. 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 TCPM Lille

16. 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 TCPM Lille

17. 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? TCPM Lille

18. 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 TCPM Lille

19. Conclusion Patrick 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 TCPM Lille

20. 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 quality 1Neuenfeldt, 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.

21. Thanks for listeningcomments, questions? Amandine.Pras@mail.mcgill.ca www.amandinepras.com

22. 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. TCPM Lille

23. Opera recordings by John Culshaw Act I Act III Act II 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. TCPM Lille