The Art of Recording Chapter 5. Preliminary Stages: (under revision)

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The recordist must learn to anticipate the content and scope of the recording project. Before sounds are dedicated to tape (or disc), the recordist must have some clear ideas of the dimensions of the project. The recordist will then be able to correctly make the choices of the preliminary stages of a music production or audio project.

These choices will affect the entire project. If they are made poorly, the entire project may be compromised. The recordist will be able to anticipate the problems of each stage of the recording project, by considering the state and sound qualities of the project at all of the various stages of the sequence of creating a music recording.

In the preliminary stages, the materials of the project are defined. These materials comprise the creative resources of the work. The recordist will often be responsible for making many of these decisions, depending on their role in the decision-making process of the artistic aspects of the project.

The choices the recordist may be required to make during the preliminary stages of the project are: choice of sound sources, choice of how to capture the sound sources (initial shaping of the sound sources), choice of how the sound sources will be heard during the recording process (monitoring format).

The tracking process often must be planned during the preliminary stages of a recording project. This topic is covered in the next chapter. The decisions of tracking will, however, often occur during the preliminary stages, before sounds are dedicated to tape: defining the number of available tracks, placement of material on the multi-track tape, mixing of microphones during the tracking process, placing sync tones, performance order planning, planning reference tracks, rehearsing the session.

Sound Sources: Artistic Resources and the Choice of Timbres

The music to be recorded, and a certain set of sound sources (voices and instruments) to perform the music are usually dictated to the recordist as dimensions of the project. Decisions on the selection of sound sources and on many of the supportive aspects of the music are, however, often made during the preliminary stages of the recording process (or during the production process itself).

The selection of sound sources will define the materials of the music production. The sound sources will be the vehicle that presents the musical ideas. They must be selected carefully, and with attention to their anticipated roles in the production. Sound sources are often coupled with the musical ideas themselves, as the primary artistic resources of the music.

In selecting sound sources, decisions are being made as to the most appropriate timbre to present the musical materials. In doing so, the recordist will consider the sound source in relation to:

• Suitability of its sound quality to the musical ideas;
• Potential to deliver the required creative expression;
• Pitch area information for anticipated placement in
relation to textural density.

Individual performers may be selected because of their unique sound qualities. Individual performers, themselves, are unique sound sources. This is especially true of vocalists, who are sought for their unique singing voice and styles, as well as for their speaking voices.

Accomplished instrumental performers that have developed their own style(s) of playing or have advanced performance technique, are also sought for their uniqueness as sound sources. Individual performers often bring their own creative ideas and special performance talents to a project, and considerably aid the defining of the sound qualities of the sound sources.

The selection of particular performers for a recording is important in defining the sound quality of the sound source down to the most minute detail. The recording is a permanent performance of the piece of music. As such, the selection of the performers for this performance is often an important consideration in selecting the sound qualities of the sound sources.