TIMELESS MUSIC

Time. A measurement of existence, a constant tied to an event of past, present and future or a common consciousness in which we participate? Without going to into one of those 4am conversations on the theories and ideals of philosophy, science and religion, I still would like to touch on the importance of the way we view time and its significance upon our approach to our activities.

In this current social and economic climate, I am constantly hearing that “times are changing”, well this is obvious is it not? Regardless off the constant fluctuation of exchange rates and the weak pound, the growing unemployment statistics and the divide in social standing between the rich and the not very rich, time is always changing. Fashions and fads come, go and are reinvented. Life starts, life ends and life is created. So how do some of our peers manage to create works that escape the constraints of time and a changing, evolving world?

“A timeless classic”, a common phrase for such works, and one we would be honoured to have associated with anything we create within our lifetimes I’m sure. What is it that allows certain songs, mixes, productions and scores to be remembered and praised long after their creation though? There is not a simple rule or formula to this; there are however some good points for consideration when starting work on your album project or production. So this month is a bit of theory for us to endeavour to put into practise.

A universally appealing track is one that people from different places, races, cultures and ages can relate to in some way. For them to be able to, the track needs to have strength to it and a power to be emotive.

I think as a producer of a project it is essential to recognise early on what the strength of the project is and make this the key feature of the sound and shape of the album. For example, if the singer writes fantastic lyrics, keep the music simple to focus the listeners ear on the words, go for a nice warm sound on the vocals, maybe using a ribbon mic and tube preamp combination. Add compression to bring the vocal upfront and closer to the listener, but keep a soft knee and try not to make it pump by keeping the release a little slower.

In my opinion, a mistake that is often made in recent times is to over-perfect a vocal line. Whilst some singers can only claim to be so with the help of Melodyne, others that are not so musically challenged should be left to sing songs more freely. In classical recordings, the aim is to capture the performance in the most natural way. When you are listening back to the recording and shut your eyes it should be like you are there, experiencing the drama, excitement, or beauty first hand. I think this should be the same with a good vocalist. The voice after all is another instrument and I think sometimes we are all guilty of not treating it as such sometimes. The emotion of a vocal is really heard when a singer is left to freely express themselves, even if they are straining a little on a high note or singing some notes softer, the little imperfections make it sound real. Of course you can give your singer guidance, but when working with a talented vocalist there is nothing more beautiful than listening to them sing from their heart the way that they feel to express it.

To capture this, try taking a different approach to the recording. Instead of having them standing up with a pop shield and condenser mic, headphones on, lights blaring and shouting instructions down the talk back to them, try creating a more ambient feel. In your live room or recording space, light some scented candles, put some cushions out, turn the lights down and try setting up some room mics instead of just a close mic. Play around with positioning as it will vary dependent on the size and shape of the room. I quite like using a coincident pair towards the corner of the room, facing inwards, with cardiod pick up patterns, and not too close to the wall. Then, if the room allows I also like to use a tube condenser mic on omni pick up placed higher up above the performer, a few feet away and facing downwards slightly angled towards them. Do not be afraid to experiment with different microphones and their placement.

Another important element when doing a project is simplicity. Have a theme for the album that is used by the band / act / producer for inspiration and guidance, sometimes the simplest ideas can create a masterpiece. I also think it’s important to decide whether you are creating songs, or pieces of art. I say this, as a “song” should have a simplistic structure, repetition, and a familiarity to it. These aspects help a song to be “catchy” and memorable. On the other hand, a track that is a piece of “art” should be a statement, a mood, an object, a situation – whatever it is, it should embody that expression fully and be an emotive journey for the listener. To give an example, a timeless and fantastic album of “songs” was Michael Jackson’s ‘Thriller Album’; a timeless and great album of “art” was Pink Floyd’s ‘Dark Side Of The Moon’.

Whatever you are trying to achieve with your project allow yourself to be creative and experimental, make music that means something to you and enjoy doing it! Don’t be afraid to try out new ideas, even if they don’t work, at least it is a lesson learnt.

There is no key to making great music, but so long as you are making something that you are proud of and that you enjoyed creating, you have already created something timeless in your eyes, regardless of how others view it.

Remember that with each 60 seconds you gain in life is also a minute lost. When you create an album for people to listen to, aim to make their seconds gained a joyful experience and their minutes lost only to fond memories.