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Topic: Recording question for Paul Franklin |
Bill Sampler
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Posted 26 Mar 2004 11:29 am |
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Paul,
First off, let me say that I'm a huge fan of your playing. Your ability to be
creative when faced with doing so many sessions of varying styles of music is amazing. I've only been playing for a couple of years and currently take instruction
from Reece Anderson, but when I take a break from practice, I try and think outside the
box. And right or wrong as some would say, I try and emulate, but not copy, your style. As
Reece knows, my goal, within 5 years, is to play on a session; even it is just 1 demo
song! That being said...
With doing so many different sessions, how is your particular sound, or tone, kept
consistent from session to session for a particular artist. For example, if you do a
session for Alan Jackson and then the next year, do another, are you responsibile for
getting the same sound as you did on the previous session? Or, does someone else, such
as the producer responsible for that?
Thank you very much for your time.
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Bill Sampler
Carter S-10/DB 4x5
Nashville 1000
Yamaha SPX-90
Lexicon MPX-100
TC Electronic M300 |
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Franklin
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Posted 26 Mar 2004 8:25 pm
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Bill,
Good question. First of all, there are so many things that can add or subtract from how a musician originally sounds that makes it impossible for anyone to sound exactly the same two days in a row.
What I can and must do is provide the artist, producer, and engineer with a strong tone, so that my steel cuts through the track without adding mud. How this is done depends on how many instrument layers a particular song will eventually have when it is released.
On the new Hank Jr. record I had to play with so many highs that it was not pleasant by itself. But it was the only way to be heard through a wall of guitars.....I generally ask the engineer if what I am sending is working for the song. They are always glad to help direct me by suggesting a brighter, a softer, more depth, or more mids if needed since it makes their job easier come mix time.....They will guide you.....Here is the most important rule for recording.....Bottom line, Its their record....I give them what they ask for.......Paul |
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Bill Llewellyn
From:
San Jose, CA
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Posted 26 Mar 2004 8:50 pm
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Paul, I'd very much appreciate hearing from you about how the layers are done in a Nashville session. I'll take a rough guess they go something like this:
* Rhythm tracks (drums, bass, piano, acoustic guitar), reference lead vocal
* Color tracks (lead guitar, pedal steel, fiddle)
* Lead vocal re-tracking
* Backup vocals
* Additional coloring (strings, special instruments such as accordion, harmonica)
Where in the flow of recording does the PSG typically get tracked?
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Bill, steelin' since '99 | Steel page | My music | Steelers' birthdays | Over 50?
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Herb Steiner
From:
Briarcliff TX 78669, pop. 2,064
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Dan Tyack
From:
Olympia, WA USA
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Posted 26 Mar 2004 9:42 pm
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What Herb said....
I've recorded maybe a tiny fraction of one percent of what Paul has done, but that statement (which is honest) is the reason why Paul has stayed on top for so long. Not that that attitude is enough, talent (not to mention virtuosity) is even better, but unless you truely take that attitude to heart you can't stay on top. It's not who you socialize with (I don't remember Paul as being much of a socializer), or who you take bass fishing, it's that attitude.
It's the song, not the steel......
That's the lesson I have learned from Paul. Not to take away in any way from all the great session players from the past, but to be honest, in those days, the producers were looking for steel parts, be they hot or crying, or corny. These days they don't give a crap whether there is a steel part on the record, they just are looking for radio friendly pop records. The fact that Paul gets as much steel guitar on them is a testiment to the totality of his attitude and his ability. |
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Dave Boothroyd
From:
Staffordshire Moorlands
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Posted 27 Mar 2004 1:30 am
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Mr F sums up brilliantly what I spend a lot of time teaching my students.
When it comes to recording in the studio, it is the Producer/Engineer team who finally set the tone of each instrument. All the player has to do is to provide a good strong tone.
(That's a lot easier is he or she has good equipment and lots of talent! )
The producer has to make the tone of all the instruments sit together harmoniously.
Over and over I hear myself saying "Don't spend too much time on that EQ section now. You don't know what the steel (or violin or piano whatever) should sound like until you've heard the guitar, bass and drums with it.
As PF says in the studio the player's job is to de what is asked - with the option of occasionally offering what is needed if that is different.
Cheers
Dave[This message was edited by Dave Boothroyd on 27 March 2004 at 01:32 AM.] |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 27 Mar 2004 3:56 am
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If the steel is to be integrated into a large production it is best as late as possible IMHO.
The steel has a very wide potential sonic range, and unless you are prepared to do radical EQ on it later,
it is best recorded to a fairly full mix.
One the other hand if it is done during an early tracking session or rhythmn section session,
it then could be considered part of the original sonic framework,
and then other tracks are laid in relation to it's original prominence in the mix.
That mostly depends how big the steel will be in the overall mix.
If it is a promenent part early is fine.
If it is filagree over a very full mix, then later is better.
Paul is a producers dream player : chops galore, adventurous, fast and perfect attitude.[This message was edited by David L. Donald on 27 March 2004 at 03:58 AM.] |
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mtulbert
From:
Plano, Texas 75023
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Posted 27 Mar 2004 8:03 am
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If things have not changed much since I was there, the recording process is pretty inclusive at the time of the mastering session. That is, all the instruments are present at the time of the recording. The theory is that there is better cohesiveness among the players if they are all there. That is especially important for the "lead" instruments.
Normally, a session would go like this..
1. Tracks are cut with all parts of the basic band there...Bass, drums, rhythm,piano,steel,lead guitar, harmonica, banjo, etc.
2. Strings are normally added on after the fact in some cases and in some cases they go on at the same time if the charts are done.
3. Vocals are next along with background voices if they were not cut at the original session.
what makes the process so interesting is the creativity and the speed at which the studio musicians work. It used to blow me away to see how fast they could come up with a terrific track after hearing a guitar and voice demo once.
Regards to all
Mark |
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Bill Sampler
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Posted 27 Mar 2004 12:36 pm
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Thank you all for your comments and suggestions. I appreciate everyone for taking the time to reply. I can only hope to one day use what I've learned from the forum and from Reece on a session. That is my dream.
Thanx,
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Bill Sampler
Carter S-10/DB 4x5
Nashville 1000
Yamaha SPX-90
Lexicon MPX-100
TC Electronic M300 |
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Chris Lasher
From:
Blacksburg, VA
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Posted 27 Mar 2004 7:08 pm
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Fantastic topic!
Bill, make sure to not miss Mark van Allen's series of columns in PedalSteel.us magazine. He's covering recording sessions on steel. I've read the first article and it's very good. I also spoke with Mark last week and visited with him in his studio and picked his brain for several hours. He's definitely got a great set of ears on him. |
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Bill Sampler
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Posted 27 Mar 2004 8:07 pm
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Thanks Chris for the tip! I'll do just that.
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Bill Sampler
Carter S-10/DB 4x5
Nashville 1000
Yamaha SPX-90
Lexicon MPX-100
TC Electronic M300 |
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Dan Tyack
From:
Olympia, WA USA
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Posted 28 Mar 2004 2:55 am
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David said
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| If the steel is to be integrated into a large production it is best as late as possible IMHO |
There is a lot to be said for this statement. When I do standard steel overdubs, I do like to be the last up to the plate.
However, one thing to consider is the social dynamics of the recording process. If the steel is there for the tracking sessions, then the steel gets the opportunity to provide the 'signature licks' for the song. Or to do some cool rhythm playing (I have heard some really nice rhythm steel playing from Paul that most people might have attributed to guitar). This is especially true if you have some lap steel capability.
For example, a year or so ago I had the opportunity to play on all hte basic tracks for an album where the players were me, Tony Levin on bass, and Jerry Marotta on drums (does the name Peter Gabriel ring a bell). I could have gone in and overdubbed, but you better believe I wasn't going to miss being a part of that rhythm section....
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Dan Tyack
From:
Olympia, WA USA
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Posted 28 Mar 2004 2:57 am
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David said
| Quote: |
| If the steel is to be integrated into a large production it is best as late as possible IMHO |
There is a lot to be said for this statement. When I do standard steel overdubs, I do like to be the last up to the plate.
However, one thing to consider is the social dynamics of the recording process. If the steel is there for the tracking sessions, then the steel gets the opportunity to provide the 'signature licks' for the song. Or to do some cool rhythm playing (I have heard some really nice rhythm steel playing from Paul that most people might have attributed to guitar). This is especially true if you have some lap steel capability.
For example, a year or so ago I had the opportunity to play on all hte basic tracks for an album where the players were me, Tony Levin on bass, and Jerry Marotta on drums (does the name Peter Gabriel ring a bell). I could have gone in and overdubbed, but you better believe I wasn't going to miss being a part of that rhythm section....
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 28 Mar 2004 4:57 am
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I also said "
| Quote: |
| One the other hand if it is done during an early tracking session or rhythmn section session, it then could be considered part of the original sonic framework, |
In Dan's case this is also correct.
it really depends on the over all production time frame.
But the general need is to integrate the sound with the other basic tracks,
WITH imagined consideration of the future dubbed tracks by the recording staff.
This is similar to the classically trained composers imagining in advance the layering and interactive resonances of his orchstra, while he is writing it out on paper.
I have, for example , heard several different sounds from Paul F. and I am sure some of that divergence was relative to tracking time in the production timeframe.
A good player IMHO, will not be locked into only ONE version of "tone", but flexable enough to have several tambers available to fit any situation. And the open attitude to use any as the production or producer demands.
Any good producer will want to hear the players 1st choice od sound of course.
But he might give a hint of what he is looking for during set up.[This message was edited by David L. Donald on 28 March 2004 at 07:31 AM.] |
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