Creating "Energy" in the Studio...

Pete Burak · From: Portland, OR USA

I've been playing on a few studio jobs lately and have a question for those with more significant studio expierience than my own (I only play one or two studio jobs a year maybe, but lately I've been asked to record on a few different projects).

When playing live gigs, and the band is in the groove and the dance floor is packed, ect... a kind of "energy" is generated between the band and audience.
When I listen to the playback of the gig tapes I can often hear the energy in my own playing and in the overall bands performance.

Shift gears-

Now it's mid-day and I'm set up in the control room with an engineer/producer recording steel parts and it's not long before we're listening to the playback.
What happened?!
I don't feel "in the groove".
As I'm playing parts I don't feel like I'm "lettin' it rip" like I'm inspired to do at a good live gig.
The producer says it sounds fine, but I'm thinking I need to do a few more takes.

So I guess my question is...
At a gig the audience and band seem to feed off each other creating an energy that seems to generate an "inspired" performance.

How do "you" create that jammin', let'er rip, inspired performance "energy" in the studio environment?

Thanks in advance for sharing your insights.
-pete

Kenny Davis · From: Great State of Oklahoma

Pete, my experience is similar to yours. It can be especially difficult to get into the groove when you're setup in the control room after other tracks are laid. If it all possible, try to get setup (wired) 10-15 minutes before, and just jam by yourself, playing all your licks. It helps to loosen up and get "into it" somewhat. But,if it's like most sessions, it's hard to actually have that much time off the clock.

When doing all the tracks together, we'd usually jam for 10 minutes or so while the engineer was getting his levels. That helped to get into the groove. I always had trouble getting in the right frame of mind in this one studio that was very stark and had bright flourescent lighting. I liked the cozy earth tone studios with the track lighting better! The more you get under your belt, the easier it will come.

Pete Burak · From: Portland, OR USA

FWIW, So far, all the studio stuff I have on my plate will be playing steel tracks on the bands previously recorded tracks.
Thx!
-pb

David Spires · From: Millersport, OH

I agree, it is a tough thing to learn to "manufacture" your own "groove". For a regular live gig, you can arrive, and setup at your own pace. Try to setup your gear as efficiently as possible without rushing around. I find it to be a similar feeling to playing at steel guitar conventions, when you basically have to setup and start at full "groove" in 5 minutes or less.

You might try practicing a little that way... Try just setting down for 5 minutes, and really force yourself to concentrate - force through the warm up process, into your more creative playing. I struggle with the same thing, but I do find that I am much better at it when I have been practicing regularly and my overall playing is up to par.

Good luck,

Dave

BJ Bailey · From: Jackson Ms,Hinds

It's like compareing a faked orgie to the real thing

------------------
BJ Bailey

Paul Graupp · From: Macon Ga USA

Paul Hornsby, formerly of Capricorn Records here in Macon, once asked me to come in and do some tracks for a Randy Howard album. First he said I couldn't use my Peavey Musician amp with JBL 15s; he had a Fender Princeton he liked the sound of better.

Then; you won't need your volume control, I'll do that in the booth. Well, I,m half dead already so I may as well go all the way I thought. Then he said on the studio override; Put some quavers (sp ??) in here.
I thought; what the hell is a quaver ? We didn't even speak the same language.

He felt my tesnsion and told me to come into the booth for a beer. That made it even worse because now I'm getting light headed.
We fought that way for three hours when he called it quits. I refused the money he offered saying I thought too much of my playing to take money for what I had just performed.

Two years later at work in the avionics shop for an airline, The radio was on a country station but I wasn't really listening. I began to get all tense and finally threw a screwdriver onto the bench and stood up.

Then I noticed the radio was playing the song I had tried so hard to impress Paul with that afternoon. Next time I saw Randy he told me the Nashville guys told Hornsby
the only song on the album worth a dime was the one with the steel on it. What can I say ?

If there was any energy in that studio, it was negative so I'd so the other side of the coin is also POSSIBLE !!

Regards, Paul

[This message was edited by Paul Graupp on 28 June 2001 at 01:56 PM.]

chas smith R.I.P. · From: Encino, CA, USA

I've seen faked orgasms, but never a faked orgie, and I enjoy a good lie if it strokes my ego.
Pete, with all due respect, if you don't feel 'in the groove', it may be that you feel uncomfortable in an unfamiliar situation and 'lettin' it rip' may be inappropriate for the recording. The bottom line is, if the producer says it's fine, then it's fine. Remember you're working for him.

Jim Eaton · From: Santa Susana, Ca

I had the experence of doing a fair number of radio spots/jingle sessions here in LA in the mid/late 70's. Most of the time, they would turn on the "red light" on what I thought was going to be a "dry run" for me to hear the tracks and figure out what I was going to play. Often the Producer was happy with what I played on that 1st pass and I'd be done. It took me longer to set-up and tear down than it took me to do the parts!
When I would say anything about wanting to do a track over, I always heard the following, "put on your commercial ears".
Sure, I would have liked to do another take on some of those "1st pass" tracks that they kept, but the people paying for my time were happy and I got paid!
As Chas said, if the producer is happy, your done!
JE:-)>

[This message was edited by Jim Eaton on 28 June 2001 at 02:32 PM.]

Pete Burak · From: Portland, OR USA

I hear what your saying about the unfamiliar situation Chas. I definatly see why they call it studio "work"!

Gary Lee Gimble · From: Fredericksburg, VA.

Pete,
While living in Seattle, Wa. in the mid seventies, I was recording regularly, pickin everyone's favorite axe, the five string banjo. Banjo was popular back then and could be heard on many TV and radio commercials. Anyway, my take on getting in the grove was my deposit slip, partially filled out and tucked away in my wallet. Every producer I worked for wanted basic stuff, no fancy atonal licks and don't take away from the message that is being conveyed. I knew if I didn't do what I was told, then I wouldn't have enough cash to buy a fully loaded, black on black, Eldorado Cadilac. If you feel, that lacking a groove is gonna inhibit your playing, then just simply get to the job site early, set up, tune and chill. Reminisce some highlights in your musical career, think about your first date and whatever else came after that. BTW, I settled for a big blue one, Cadilac that is!!!!!
Gary Lee

Miguel e Smith · From: Phoenix, AZ

Paul's experience is horrible, yet...I've been there. One thing for sure...NEVER let an engineer or producer get away with recreating your instrument. I sometimes bend a bit (a "bit" is the key word) concerning how much efx I send to the recorder, but not much else.
As far as feel goes, it's easy to fall into a reserved and emotionless performance because of the environment. Getting a decent mix in the CR or headphones is very important. I usually just grit my teeth and force myself to play as hard as I do live (not "loud" necessarily) and then things work fine. Then again, if the track you are playing on doesn't have feel, well.....

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Pete, to put it short...you can't! A live performance creates energy, and a studio environment is based on control. They're at two different ends of the spectrum. The BIG thing missing in the studio is an audience, and the musicians having control of the sound! Much of the "groove" you've experienced comes from players' interaction with the the audience, and it's far easier when you've got a few thousand, a few hundred...or even a few dozen people who are liking what you do.

Now, comparing ANY recording, even the best "taped-live" stuff, with a real live performance is kinda like comparing a Christmas card to Christmas morning, or a travel book to an actual vacation. You get the idea...but NOT the feeling!

And, if you think about it, that's the reason most people go to live shows. They don't go to listen...they can do that much better at home. They're there for the experience, and their presence (all of 'em) is what actually makes "the experience".

It also helps to realize that, on the bandstand, you can be a star! But back in the studio..."you ain't nothin' but a hired hand".

John Macy · From: Rockport TX/Denver CO

Hi Pete,

I guess I'm just the opposite--I feel sooo much more comfortable in the studio than I do on a live gig. I was already an engineer before I started playing, so that's part of it. But I feel more loose in there, maybe cause I know I can back up and punch it in!

I never feel a lack on energy or the lack of an audience--just like my friend Miguel said--just dig in and go for it. On live gigs, I always play a little more controlled (unless it is really an improv gig) and am usually going for parts or hooks.

anyway, that's my story and I'm stickin' to it.

------------------
John Macy

www.johnmacy.com

Bob Hoffnar · From: Austin, Tx

I'm with John Macy on this one.
I enjoy recording these days. I record on somebodys project at least once a week. Try to play something musical and don't worry about letting it rip on the steel. I look at the tune in a bunch of different ways.

Reinforce the melody.

Find a short pedaltone lick that links the groove with the harmonic progression.

Play a long phrase that acts as a counterpoint to the chorus or verse melody.

Find a way to differenciate the chorus from the verse.

Make noises.

Play nutty solo.

Basicly take the music and orchestrate it to bring out whatever might be good about it. I'll try to match my articulation with the singers phrasing to keep things cohesive.

Today after I finished up some pedalsteel tracks I asked the producer if I could try something out. I whipped out a beat up, out of tune old Supro and cranked an amp up. It ended up being the best stuff of the day and it was big fun.

I find that by bringing ideas and focusing on the subtle aspects of music in the studio that the energy can be much more exciting than typical live gigs.

Bob

I should add that most sessions I get are overdubs and very few of them have much of anything to do with country music.

[This message was edited by Bob Hoffnar on 28 June 2001 at 05:49 PM.]

John Lacey · From: Black Diamond, Alberta, Canada

I'd have to agree with the other guys here that studio playing requires an entirely different head space. Depending on the producer, I scope out the tune to see where the steel best fits in and try to do somthing appropriate. Now, that doesn't always jive with the producer and sometimes I have to bend over backwards giving them what they want, but that's the gig. The up side is, the session will endure and is generally a pleasant place to be. In bars, it's not always pleasant and the notes are gone the moment you play them. On the other hand, nothing cooks like a hot band on a Friday nite.

Bob Hayes · From: Church Hill,Tenn,USA

Musicians, for the most part, ARE SHOW OFF"S!
You have to be!or there would be NO SHOW. So LIVE ( most off the time) you get the ENERGY from the audiance and the rest of the band .or you try to create energy to get the audience hyped up.ENTERTAINING. That's what you get paid to do. You do the best that you can with out worring too much if you don't get that lick exactly like Paul Franklin or John Hughey or who ever, you just play and hope for the best.
In the studio, it's different. More confined. You want to get it right and make no mistakes.You tend to be tence.Often times it is JUST YOU..over dubbing..a rhythm track or vocal and rhythm. Even tho you are ON THE CLOCK...in your mind you know that you CAN do it again if you or the producer is not happy..You are not as loose as durring a live performance...when you know you've got to get it "right", but if you don't ..who will know!! So ...you have to get to the session,relax BUT also get phsyced to do it..sort of a double negative..... the main thing is KISS!!! Keep It Simple Stupid.

Pete Burak · From: Portland, OR USA

Thanks for the responces gang!
I really value the input and I think creating the energy/excitement by getting "psyched" from within sounds like a good mindset for the studio.
I've read this thread a few times so far and it's starting to sink in!
thx,
-pete

[This message was edited by Pete Burak on 29 June 2001 at 11:06 AM.]

mtulbert · From: Plano, Texas 75023

Jeff Newman tells a great story about a producer who thought he knew more than the musician. During this session, the producer was all over the steel player for not playintg what he wanted. After each take he would say "that's close but what I need is 'di di da da slide di di di da'". Finally in disgust the steel player got up from his steel and said to the producer as he handed the bar to him "here you play the lick you want and I'll repeat it" That was the end of the criticism.

Finally in response to this post, there is a reason why Nashville sessions tend to be done all at once with the least amount of overdubbing. As most of you have stated in the post, you have "synergy or energy" with the band. What the good producers try to emulate in the studio is that same type of feeling with the band.

Regards,

Mark T.

Al Marcus · From: Cedar Springs,MI USA (deceased)

Pete- good point! Donny said it too. It just aint going to happen.
Live sound in recording studio, for all the things mentioned on the various posts.

In the studio it seems to be impersonal. And YES, The first pass always seems to be the freshest and the best. After that it does become WOrk............al

David Spires · From: Millersport, OH

After reading some of the replies, I have come to a good conclusion. I'll let all of you play the live gigs, if you let me do all the sessions! :-)

I love the recording process (maybe more) than playing live. I guess I enjoy the perfection of it. Trying to find the right things to add to a song - to make it better than if you hadn't played - really inspires me to play.

Don't get me wrong, I do enjoy playing live, but I think that doing recording work teaches me to play more of the right things when I'm in a live setting. After all, the recording really is how it sounds to other people.

[This message was edited by David Spires on 29 June 2001 at 02:45 PM.]

John Macy · From: Rockport TX/Denver CO

That's a good post, David, and I'm right there with you. The "energy" I get from the studio--hearing a song for the first time, finding the right part, etc.--for me is way more than the energy I get from playing live for the most part. So count me in on the sessions--if I can't play, then I'll engineer/produce...

Johan Jansen · From: Europe

Pete,I like to play with the whole band, and all in one time, just the vocals later. If this is not possible, I try to play together with the guitarplayer, a kind of question-answer approach. If this is not possible,
record without any effects, sit in in the enginering-room, and listen back to the monitoring, no headphones. Add only effects for listening and get into the groove by this, also volume will help...

regards, Johan

------------------

STEELDAYS 2002 March 29 & 30
my web-site
my bands CODand TSC

chas smith R.I.P. · From: Encino, CA, USA

My experience of playing live vs recording is that they are the opposite sides of the same coin. Playing live is putting on a show for the audience, so there needs to be a lot of drama. Recording is more of an assembly so it's more surgical and that makes for a different kind of drama. Playing live means there's a lot of air that needs to be filled, on tape, there's a limited amount of real estate and it fills up quickly. A solo voice and an acoustic guitar can "fill up" a tape easily, but "filling up" an auditorium is a different matter. Not that it can't be done, but I think you see my point.

We all want to shine and display our stuff and again, it may not be what the producer is looking for. I go to Baskin Robbins ( an ice cream parlor) and they have 31 flavors. All I want is chocolate and vanilla, I don't want to sample all 31, and the producer, when he hears what he wants doesn't need to sample all the other stuff. If you give him what he wants and you're easy to work with, you'll get the call next time.

Mike Cass · Posted 1 Jul 2001 2:21 pm

....while my limited abilities are certainly not on a par with the likes of a Franklin,a Mike Smith or a David Spires,I have had a little experience loitering on tape & have learned a few things ....
the first thing was from hearing Sonny Garrish on most of what came out of here in the 70's & 80's.
Sonny always created a part... he almost always played something memorable.... and it was HIS OWN creation, not someone elses

.
His parts were either in a "call & response" mode to the lyrics, or a form of melodic "pads".He would then twin his parts in octaves, harmonies,unison,or flange a track (or some combination of the above) & his parts were always in context because he started where the singer quit & led them to their next note ...you can never go wrong if you know the melody(lesson # 1).
That being the case, you will then be more sensitive to the ebb & flow of the energy created by the other musicians because you know where the tune is headed...true for live tracks or overdubs.
#2, play where everyone else isnt ...stay away from the range the vocals & the other instruments are in ...if the keys are playing high pad low if you need to be supporting the track ... if the singer is singing low play your fills high, etc.
#3, be quick to jump on a hook that someone else comes up with ... Id love to play things like the counterpoint lick in "Touch my Heart" on a 5511 intro, but sometimes a piano led part sounds better on an intro than a steel, depending on the tension of the 1st verse....if you want to be a part of the track play along, dont necessarily lead the charge....remember, the others love to play, too

.
The group effort seems to produce the most listenable results,imho.
Having just come from a little date where this was the case,the "Grind" factor is at a minimum..I feel a sense of satisfaction at a job well done & have the memories of some fine music & fellowship with some old & respected picker friends....all that & we got paid, too

.
However,those situations Ive come across where I know going in,or soon after arriving that Im involved in a "w**nie pull",Ive tried to learn to take with a grain of salt... but I make a note to check my caller ID in the future before picking up the phone

.
Positive musical energy seems to me to be a by-product of concentration, integrity & supression of ego....
however, you can please some of the people all of the time & all of the people some of the time , etc......

Also, there appear to be two kinds of musical energy...the kind that takes the performer & the listener to another,higher plane of existence, however briefly....and then theres the kind that can cause a bar fight in a NY minute....whether live music or recorded..........
Personally,Im waiting for TNN to marry "Country Music" as we now know it,with Pro Wrestling

.

[This message was edited by Mike Cass on 01 July 2001 at 05:19 PM.]

[This message was edited by Mike Cass on 01 July 2001 at 05:42 PM.]

Paul Graupp · From: Macon Ga USA

Mike Cass: I know modesty is a vitue but if what I hear and read about you is true, you are one of the giants. I have a friend here who has met you and heard you play. His name is Eddie Thomas and he is pretty

himself. He played on stage with John Hughey and that is something I could never imagine me doing.

Anyhow, his comments about you tell me a lot but more than that, your post in the Gene O'Neal thread tells me who and what you are.
Folks like you don't happen everyday and like I tell my four year old Grandson because I do: I Know You !!

Best Regards, Paul

[This message was edited by Paul Graupp on 01 July 2001 at 06:03 PM.]

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