A well-recorded play
When I was recording my first album, the mix itself sounded great, but neither the band nor the song were. Everyone who listened to him agreed with this – and at first these people did not separate the mix from the music at all.
Most people think the same way and do not make certain differences between the individual parts, the totality of which is music. Be that as it may, an engineer will most often make comments on certain aspects of the recording, the music itself, and information. If we are talking with a producer, then, as a rule, he is responsible for the details of the recording. But more often than not, an engineer plays this role. However, the producer himself is heavily dependent on the opinions and criticisms of the engineer.
In fact, groups go to large studios for the reason that there they will receive professional support from experienced engineers.
It describes the musical aspects that a high-quality play contains. There are eleven sides to what is meant by quality recording. Every aspect should contain, or at least strive for excellence. If any of them is initially weak, it will turn out to be a weak link. Although each of them is only a small part of the song, the weakness of anyone can destroy it. If all eleven are close to perfection, then the chances that the song will become a potential hit are a million to one, otherwise these chances decrease exponentially. Thus, it is necessary to identify and criticize the weaknesses of these components as often as possible. You probably would never have thought that the work of an engineer involves caring for such things as the concept of a song, melody, rhythm, harmony — is the performer not responsible for this? If a song or performer is bad, it is not the fault of the engineer; but your criticisms in this sensitive area can have a catastrophic effect on your health and professional career. Be that as it may, professional engineers do more than just record and mix. They try to bring out all aspects as much as possible. And if you call an engineer – “producer”, then he gets a lot more money, for certain reasons: the engineers who do this successfully become producers. There are many courses and books on how to identify these aspects, so we will only briefly describe each of these components.
“Quality” is understood in its own right, so you need to spend some time learning how the song can be improved. But, if you spend this time – it will pay off – you will develop your own taste. If you ask yourself at every step: “Do I like it or not?” – in the long run you will finally understand what you like. The bad thing is not to have an opinion at all. If you do not know what is “good” and what is “bad” – just sit and listen. The definition of “quality” is quite subjective, and changes when considering each of the eleven aspects. People tend to judge too categorically, it is important to understand when they go too far in their judgments, to know the reason for this state of things. This helps to understand people, satisfy them, and collaborate with them. Knowing this, let’s talk about every aspect of the music that can be considered, as well as the general assumptions that the engineer makes in each area.
Aspect 1: Concept or Theme
A concept can be defined as a combination of ten other components: It is also known as “mood”, “flow”, “aura”, depending on your ideas. A concept is usually defined as a feeling or idea that carries over to the other ten aspects of a piece of music. Songs are quite different in content or connectedness of the concept. In some, the concept is clear and definite, in others it may be “absent”. As an engineer, you can offer a coherent and specific concept. Such a comment can be made when it seems that something in the song does not fit. For example, a loudly screaming overloaded guitar is out of place in the ballad, or the flanger effect is in a straightforward rock and roll. Sometimes someone wants to use an effect that he has already heard in another song, but he is out of place in this song. It is the duty of the engineer to point out these discrepancies (in soft form, of course).
Studies of the relevance and connectivity of all aspects of a song are important for the subsequent resolution of identified deficiencies. More importantly, such research can lead to new, fresh ideas. A positive concept (theme) is “holistic”, “connected”, “complex”. Negative assessments can be – “mechanical”, “predictable”.
Aspect 2: Melody
The melodic line comments are especially dangerous. Notes like: “A melody – just none” – negate the creative process, destroying your relationship with the artist. The truth is that you can’t talk too much about the melody: “it is too fussy” or “too simple” – that’s probably all – but in any case you need to know what the performer (group) really wants.