The first phase of recording is to get down the "basic" tracks. In most cases, this means laying down each instrument separately. But with Peryodiko, we opted to have the band play "live", meaning all instruments together at once. This is only possible if the individual players are really really good, and the band is really really tight. There are a few bands that are good enough to dare do this, such as Bamboo. The only things that will be overdubbed later are the final vocals, and some solo guitar overdubs. We do several "takes" of each song, then select the best take(s) on which we will build the completed recording. After at least two "good" takes are achieved, I let the band hear all of them, then do some small "punch-ins" only if it is absolutely necessary. There is very little that separates the various takes, and some might not be able to tell if there is any difference at all. The evaluation of, and selection of which take to bring forward is a critical activity. And one of the fundamental skills needed to pull this off is listening.
This brings to mind Barry Truax's theory on the "three levels of listening attention." In my PhD dissertation draft, I wrote: "Truax defines hearing as “a sensitivity to the physical vibrations within certain ranges for frequencies and intensities … this extends to the threshold of hearing which is the slightest level that excites the auditory system, to the threshold of pain, which is the intensity level that causes acute discomfort”. Hearing is described as a passive activity that happens with or without consciousness. On the other hand, listening is an active process that requires specific types of attention to what one is hearing. Truax mentions three types of listening. The first is “listening in search”, in which the listener is searching for patterns of familiar or redundant sounds. The second is “listening in readiness”, in which a listener can, by either natural abilities or environmental control, separate a desired signal from any competing sounds. The third involves “feedback”, in which a person simultaneously hears sounds created by his/her body, as well as how his/her sound interacts with the environment. Truax contends that listening, specially the first two modes, require skill and constant practice."
The tricky part of this phase of recording is that while one is engaged in these three modes of listening, countless decisions have to be made as the music is unfolding. Are all the intruments in tune? Is everyone settled in to the rhythmic groove? Are all the harmonies in place? Is each note articulated properly? Is the band tight? Are the musicians confortable, happy, lazy, irritated, frustrated, impatient, or tired? Are all the recording devices set up and working properly? Are the monitors and headphones balanced? A producer must be sensitive to these, and be able to identify them when things are going either wrong or right. It takes considerable skill, practice, and experience to concentrate simultaneously on all these individual issues while the recording is in motion. It takes even more to zoom out and evaluate the context of what is going on. In the end, one needs the commitment to stick with your decisions. One of my favorite engineers, Angee Rosul, can't stand producers whose wishy-washiness or obsessive-compulsions prevent them from being decisive. Thank God he said I'm not one of them. I myself would be real frustrated as an engineer or musician if my producer couldn't make up his/her mind in the heat of a performance.
In my opinion, good decisions can only be made if one is listening correctly. My favorite teachers are those who not only read my work thoroughly, and whose critique is insightful and devoid of grandstanding or sophist masturbation. I suspect that the people who choose me to work with them, do so because they know I make a real effort to listen to everything that is going on.
