Reviewing sessions away from the DAW or even a screen is so useful. I document every meaningful bit of progress, as well as trying to capture my thoughts on how I feel about the work. It’s where the real work happens now; the recording session is the factory floor. That’s not really where the ideas happen now, that’s where I execute them.
And it almost goes without saying, but this is my favourite bit. More on this in Patron Exclusive – I’ll post about my review process in detail there shortly, but to summarise – give yourself time to think. Don’t rush. Make room for inspiration. It’s there.
That blog post from May 19th was the first attempt at getting back on with making the album, which I’m current’s calling The Holotype.
It was a bit of a muddled start, but it led to me sharing some experiments, nothing super focused. I once again took a breather, for fear of trashing new songs with my relative inexperience.
Yeah, I don’t think I’m super experienced at being a music producer, actually. If I wanted Dyskinetic to be a singer/songwriter poor man’s Ryan Adams guitar project, I’ve made plenty of that. But I’m in a world that is relative new; some of that word created by the technology that now surrounds me.
In an attempt to tackle this inexperience head on, I dug up an old (OLD!) song that I knew would sound great in this digital metal landscape I hear in my head. But if I failed to nail the sound, I lose nothing. A new song is a delicate thing; dragging it through processes that aren’t robust is a sure way to kill it.
So I ironed out some kinks in how I achieve sounds. I’ve made a lot of progress, learned a lot of things. I don’t imagine I’ve learned anything new worth sharing – but new stuff to me, about synths, guitars and my voice.
So I’m ready now to give this another shot. I know how to achieve the sound now, so I’m ready to get my head down. I hate the start/stop nature of how I work, and it makes me cringe when I read blog based evidence of that, but want this blog to be honest about process, so I’ll leave alone. We start things. We put them down. It’s hard.
I’ve decided to continue documenting this process, the album, in the Patron exclusive area. The money I’ve received from my Patrons has gone towards software tools that are making this process easier. It’s a good opportunity to give those who support me through that channel something to get stuck into.
With the new music I’m creating for the Arts Council funded project, I’ll share that process far and wide. That’s a project funded with public money, and it’s part of my wider research goals, so it seems fair to keep that free to all. There will be some Patron exclusive bits to that too, but that’s loosely how I’ll play it. The making of the first Dyskinetic Long Player, I’ll continue that conversation in the Patron Exclusive area, which is accessible when you join my Patreon – link below!
I’m want to make something amazing. I’ve done a lot of hard work to get to this point. If you’re reading this, you’re helping me. It makes sense to share these little process tangles. So thank you – I hope once in a while it proves useful…
Long overdue, but I had a day off yesterday, so I thought I’d cut this together. In my last blog post I talked about the influence of Buddhism on my music making. That led to some really interesting conversations, so I thought today I would go deep and share this quite personal story of what Buddhism and Japan means to me.
My old chum Ronan – *very* keen fans will remember him opening for me on The Gloves Are On tour in Coventry – has an awesome blog about recording and music making. It’s an interesting space to occupy; in my news feed dominated by Waves Plugins and CLA tutorials, Ronan pops up with a refreshingly fuss free approach. Low cost, guerrilla studio sessions in public spaces; it’s very welcome. And very useful. Anything that makes music making easier for people is a good thing in my book.
We chatted recently about gloves, disability and my early influences. There’s some great questions – head to Light Audio Recording now!