Hi! Have any of you guys noticed any difference in music production when it comes to non-musical environment in a musical environment? I don't mean drugs or anything like that, but rather small changes in the recording/performance surrounding that has had a huge impact on the music you have been recording or performed? For instance you could make music in an environment that is really messed up in many ways and you could make music in a really balanced and peaceful environment. Since music is a kind of expression the non-musical surrounding should have a pretty huge impact on the result. For instance, have you made better or worse music together with a husband/wife? Have you done huge steps forward just by changing recording/performance environment? Has new TVs/paintings etc in the recording/performance environment had any positive effects on the creativity?

I myself have noticed, that when I have been doing gigs in strictly regligious environments I have felt a little locked on stage and haven't had that "yeah that was fun" - great feeling afterwards. I guess I then haven't played that badly either, but I'm sure it has affected my performance.

I tend to do good stuff after I've been watching a comedy on TV or have had some fun. I have also noticed that deep discussions earlier on the day have made me very creative later the same day. I have also noticed some kind of max level when I run out of creative energy and everything suddenly is just either crap or I don't feel for continuing making the song.

What I want to know is what is a really good environment for being able to produce the best possible stuff? Is there any "best" attitude towards music production and how much do I win musically by rather than changing things in the musical environment change things in the non-musical environment?

What are your thoughts, deeply speaking, about the non-musical environment's effect on the music you create?

Best regards,
YamahaAndy

[This message has been edited by YamahaAndy (edited 03-10-2005).]

The question is an interesting one. On one hand, great music has been created in "holes in the wall" (think early Detroit Motown or Sam Phillip's studio in Memphis), by tortured souls with all kinds of problems
(think Bill Evans, Theloneus Monk and many of the "giants" of jazz or people like Kurt Colbain).

I've known great live players who freeze up in the studio, and average live players who really shine in the studio environment.

Engineers, and the relationship between them and musicians, writers and producers is critical. There is a "big bucks" studio here in Lexington that has all the "frosting"
elements...great lounge...top equipment, great decore....the sound SUCKS! For traditional recording with rythem sections,
acoustics RULE!

The kind of music and your expectations is important. In my case, I only do music for fims I produce...industrial films. Most people would think that's boring, but I believe that concentration on ALL aspects of the film with an emphasis on the music track
gives us a competitive advantage. Also, these types of sound score projects generally bill out at $750-$1000 a finished minute, permitting the use of the best facilities, musicians, etc. You'd probably hate it, but I enjoy this special type of recording. Most people I know can't understand why this is satisfying, since the final product is generally mixed down with a prominant voice-over. That's kind of like playing in a supper club, where the music has to be played at a volume which makes conversation possible, and few people seem to notice (I do that too, and enjoy it...I play three for "them" and one for me).

Making great music is kind of like peeing in a dark pair of pants....you can't always see anything happen....you just get this nice warm feeling.

Music is such an individual thing....when it's right it's magic, and sometimes cannot be quantified. Since you're creating your own studio, the only thing that matters is where your head is at and what works for you.Talent, equipment choices (I sometimes use tape...2" tape, believe it or not)...there are an infinite number of variables. It's a lifetime journey with an undetermined destination.After nealy 50 years in the recording business, I'm as excited about next week's project (a 20 minute film score for a fortune 500 company) as I was on the first one ( a $15.00 backing track for a young singer).

And that is part of the magic!

Good luck!

Russ

Weehaa! You nailed it perfectly!

A thing I also think is really crucial when it comes to making good productions in the studio is, simple things. Recording and mixing should be the result of a simple process run by advanced knowledge. This kind of a process is easier if the environment is simple and the gear is advanced. For instance you could record with a bunch of people that think differently about everything. What happens? A mess rises above the horizon! Then you could also record alone or with a bunch of people that open their mouths with new perspectives all the time. Then you are able to take whatever you have done and make it effective and right.

But you could also do great things, just by doing stuff from the beginning to the end and not thinking about the result that much. This kind of production usually ends with: this is crap or this is really great!

But one of the most crucial things, no matter what kind of production process you do, is to have the knowledge of how to produce a great sounding song and nail it on the record! No matter what you play, if it sounds bad it is bad and if it sounds good it is good. What you hear is what you get! Being good at reqognising good sounds in combination with good tones in the right places is really valuable!

Best regards,
YamahaAndy

[This message has been edited by YamahaAndy (edited 03-12-2005).]