Category Archives: Producing

ttt

Dame Julia Nesbelch, the producer of City Of Wood once remarked when we were discussing a hissy fit thrown by an electric guitarist who’s claim to fame was owning an expensive guitar instead the ability to play it great. “Classic Tiny Talent Time” is what she called it. I liked that expression.
 
The first tv serial I scored arrived without any sound design. Nobody told me it comes later. I thought it was an enormous vacuum so I filled it wall to wall. When later I heard it back on television I realized what I did was unredeemable. I hid under the mattress. One of many classic tiny talent time moments for me. At that time many people patted me on the back because I was well known, they thought that in itself made the music good but truly it was unlistenable. I could have been so big if only there was a Gemini category for worst music in a sitcom.
 
And some directors don’t understand a sketch isn’t the final music. It’s a sketch. It’s louder so they can “hear” the musical details not because the music has an evil plan to obliterate important things like dialogue. Certain directors react to sketches precisely like that, they forget the sketch is controllable for them later, in any way they can imagine. It’s like having an actor read lines and getting upset that lighting cues, costumes and make up didn’t simultaneously exist in the audition. Classic ttt.

adam and dave and steve kado

Re-issuing It’s True on Spotify brings memories. The house on Major. Owen downstairs by the laundry machines practising or did I invent a memory of laundry machines?. The roommate they weren’t fond of.  Being 40ish around people being 20ish – not what my contemporaries did. Recorded songs that held little attachment in case project was embarrassing – it wasn’t. Video by Adam and Dave for Born To Love You couldn’t have planned car almost hitting me at end. How amazing to be in orbit of Adam and Dave and Steve Kado in 2004.

13 month old baby

Stevie wonder did something unheard of a few years ago. Made accessible his original tracks for Superstition so people could study it. So glad Doug set me up to check it out.
 
How many clavinet tracks are on Superstition? (clavinet being the funky electric piano that drives the song) Answer: about 9 tracks just clavinet. Crazy yet perfect.
 
How many tracks of drums? Answer: kik, snare and overhead (just one overhead mic). Crazy yet perfect.
 
What strikes me most is that anyone who gets all authoritarian about recording methods insisting this or that is the right way to record, is by virtue of talking like that proving themselves a fool.