Production camp 2- pre production session 1

Ομιλητές

• Speaker 1 0:00
• Speaker 2 4:58
• Speaker 3 8:05
• Speaker 4 39:48

1. 0:00

   Κεφάλαιο 1: this is starting with i'm recording by the way um okay so this is how it's gonna go we filled out the questionnaire so i… 298s · Speaker 1

   this is starting with i'm recording by the way um okay so this is how it's gonna go we filled out the questionnaire so i could assess your level of experience and how you're coming into this and what your input where it comes from basically…

2. 4:58

   Κεφάλαιο 2: with the guitar because there is no happening maybe further down yeah this is all of it like maybe we created it acciden… 187s · Speaker 2

   with the guitar because there is no happening maybe further down yeah this is all of it like maybe we created it accidentally when i'm trying to like get the sounds up because i had like these from your file this i don't think there's anyth…

3. 8:05

   Κεφάλαιο 3: bass line which we maybe don't need i could evolve into that so that's like the intro there everything else i think we j… 113s · Speaker 3

   bass line which we maybe don't need i could evolve into that so that's like the intro there everything else i think we just kind of took it all the way off but no keep going until maybe like later on because i had to then move some just now…

4. 10:00

   Κεφάλαιο 4: most caribbean artists you have that that that that that like very regularly so it goes back to the head right so this r… 90s · Speaker 1

   most caribbean artists you have that that that that that like very regularly so it goes back to the head right so this repeat goes back to it goes back to the top here yeah so what i've done here is move this um just play this once to jump …

5. 11:31

   Κεφάλαιο 5: skip this ending so it is actually it is yeah repeat from here it goes stop and then it does the whole of a yes until he… 304s · Speaker 2

   skip this ending so it is actually it is yeah repeat from here it goes stop and then it does the whole of a yes until here until here so i'll rethink it what's really supposed to be happening the second time around is really horns join in o…

6. 16:36

   Κεφάλαιο 6: right and so so it became that way and then later on it became a way where your grandparents would use it as a way to hi… 81s · Speaker 1

   right and so so it became that way and then later on it became a way where your grandparents would use it as a way to hide what they want to say in front of their kids so this is where we talk about lost tongues of patois because musically …

7. 17:58

   Κεφάλαιο 7: by the drum itself you want to create like layers basically to reinforce the rhythm yeah and you want to do these like r… 306s · Speaker 2

   by the drum itself you want to create like layers basically to reinforce the rhythm yeah and you want to do these like record it simultaneously or overdub that i think if we're doing like a click track it might be okay to do that the the ji…

8. 23:05

   Κεφάλαιο 8: with a trombone just to get a three part or three to four part harmony just to put it that way you know because you coul… 304s · Speaker 2

   with a trombone just to get a three part or three to four part harmony just to put it that way you know because you could substitute and put it from there however for this i think a quartet version of it is going to be great it's going to b…

9. 28:09

   Κεφάλαιο 9: the make it something for the musicians but for everybody in the room yeah and i guess like we need to make be sure that… 302s · Speaker 2

   the make it something for the musicians but for everybody in the room yeah and i guess like we need to make be sure that we are like the main thing is this pattern that emulates the the voice the the speech so that needs to be like the cent…

10. 33:12

    Κεφάλαιο 10: as long as it doesn't um interfere with yeah no just letting you know if the engineer is fine for me but if you want to … 107s · Speaker 2

    as long as it doesn't um interfere with yeah no just letting you know if the engineer is fine for me but if you want to be here at 10 that's fine i'll leave it at 10 so because you know somebody might be like you know um yeah because i know…

11. 35:00

    Κεφάλαιο 11: dub with the steel yeah on that section exactly you the first time around you just play with one of the the steels and t… 154s · Speaker 3

    dub with the steel yeah on that section exactly you the first time around you just play with one of the the steels and then the second time around we can add something yeah yeah yeah and if you have any other bits of percussion or stuff tha…

12. 37:34

    Κεφάλαιο 12: see what happens and yeah so would you say that the main purpose of the piece is to highlight those because we're showca… 86s · Speaker 1

    see what happens and yeah so would you say that the main purpose of the piece is to highlight those because we're showcasing um what you would do with these um caribbean jazz creating a piece out of the um rhythms and stuff like that from v…

13. 39:00

    Κεφάλαιο 13: in guadeloupe because of jacques swatzbart and stuff like that so cool so we want to bring this very identifiable cultural aspect of the place and how it sounds like okay cool killer i think that's about it do you have any reference things for us to listen in general hmm i think the only reference i had with regards to music i sent yeah i can play them for you okay sorry you guys sit here i'll just yeah just for a second so i can get these playing for you do you think those will be on opera music yeah probably yeah yeah oh yeah for sure you There you go. 118s · Speaker 3

    in guadeloupe because of jacques swatzbart and stuff like that so cool so we want to bring this very identifiable cultural aspect of the place and how it sounds like okay cool killer i think that's about it do you have any reference things …

14. 45:22

    Κεφάλαιο 14: uh similarly to this track that we've just listened to is the idea that like we start with something a bit softer like the drums are really soft and everything was kind of like chilled and then it increases in intensity yeah i think that's what happens yeah because and the other thing is i think definitely for the second pass of this section i think we should definitely add something to like indicate this yeah i might i might do that or i might just take it out entirely um just not repeat it yeah yeah i might just take it but it definitely it is um it is written for other parts to come in um but taken into consideration for the quartet um you know it's either i do something else or just have it flow a little bit better yeah because i think if we do have this repeat and we repeat this whole section to increase the intensity of course you can increase the intensity of the playing but it would be an an added element of interest to bring in an overdub of course yeah so i think definitely it would be a good idea to explore this like adding a second steel or maybe a bit more percussions and like other elements on this section as well that would um bring this increased intensity because there's only so much intensity that you can add to the same instruments no yeah yeah i mean and we you know we have to keep in mind that you know guys are gonna either noodle more or play more add a bit more inflection based on um the nature of playing within it so when it repeats i think even we might get a bit more intense um in in how we approach it um but again no it's it's still it's it's definitely something that is designed for that um so yeah keeping that in mind that would be something to keep in mind definitely yeah we can always like on the rehearsal as well we can always hear it and see how it's sounding like exactly we can keep the section or maybe we can yeah i mean i do a lot i do my homework with regards to that um because it's very it's very important that i make sure that what i'm what i want to say there um um um because utilizing what needed needs to happen there if when i'm supposed to repeat um is the horns needed to answer so when we say so those those are very not generic but those are somewhat typical phrases that you can identify from like this because now me being from trinidad now you're having that so definitely to add that like you know you know again if if we repeat it it gives it that that extra little kind of thing and maybe i'll get the drummer to get off the hi-hat and go on to the cymbal yeah a little bit um on the ride cymbal a bit so see what he does there yeah um you know or maybe have the jimbe or something like that um give me some more you know i mean just to put some inflections just you know something to because you can always maybe something to have in mind as well like if you because if you think of the future of this piece that you want to have horns at a later date not for this section this session that we're gonna do we can always have the repeat and for now you add like a second layer of steels or something if we add it as an overdub you can always just yeah yeah i could always do that yeah i could always do that then you already have like the the structure of like this is the structure of the thing exactly you know how it sounds you just have to replace that or maybe just let the bass do something because of like in martinican music it's like they always try to get the bass to start the conversation and i think it might be a nice feature for him because of the type of player that i know he is it might be an amazing feature that he starts doing something there and then maybe break away from what's normally typical yeah using this bass solo into maybe the second ending into the that aggressive on um second section c so yeah yeah That's a good way to think about it. 296s · Speaker 2

    uh similarly to this track that we've just listened to is the idea that like we start with something a bit softer like the drums are really soft and everything was kind of like chilled and then it increases in intensity yeah i think that's …

15. 50:26

    Κεφάλαιο 15: This is my second record. 303s · Speaker 1

    This is my second record. This is my daughter's 14. So this was recorded right before she was born. So in terms of the texture of the instrumentation, we want to be close to this, like the timbre and the texture. Okay. Cool. Cool. I think, …

16. 55:29

    Κεφάλαιο 16: melancholic thing but you have this undertone of this rhythm that is going to pick up and then takes over in the c secti… 211s · Speaker 2

    melancholic thing but you have this undertone of this rhythm that is going to pick up and then takes over in the c section c section this big so we're really going to be like really big into it and then it brings it back down you know that …