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Song Of The Month Nov 2019

mrpeebee said:
I did some quick and dirty (meaning without much preparation and in only one or two takes) recordings of this song back in April 2015. Recorded a slow version at 90 bpm with a bass only backing and a faster one with a backing track from YouTube .

Here is the slower take, which was actually the first time I ever played this song (recorded before the faster take posted below). The start wasn't that bad I think, but I lost my way a bit after that, resulting in some very 'out' playing and not so clean altissimo! Kind of raw and adventurous take, PB searching his way through a new song:

- 'Days Of Wine And Roses' (Florida no USA 10* - Plasticover 2 - slow):

And here is the link to the faster and more clean take, played on the same setup as the slower version posted above:

- 'Days Of Wine And Roses' (Florida no USA 10* - Plasticover 2 - fast):
soundclick.com

Days Of Wine And Roses (FLnoUSA 10* - PL2 - fast) by mrpeebee

Days Of Wine And Roses (FLnoUSA 10* - PL2 - fast) - Recorded with backing track and Samson USB mic in April 2015. Played on a 1950's Otto link Florida no USA 10*, Plasticover 2 reed and 1952 Selmer SBA tenor.
soundclick.com soundclick.com
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Very nice. Parts of the fast version reminded me a lot of Scott Hamilton. Thanks.
 
Pete Effamy said:
Well done Rhys. I've tried this sort of thing myself, it isn't easy is it. What's your method?
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It's quite similar to when I record my sax with a backing track, using a dynamic mic via a FocusRite interface into Audacity, so I won't describe the basics, just what I do differently for a multi track sax recording.

In place of the backing track, I make a template track, which is either a click track, a rhythm track, or a model audio track that I have exported from Sibelius or found from someone else's recording of the exact quartet arrangement I want to record. I pan that hard over to left channel and use headphones with one ear on and the other off.

I record the different saxes to a mono audio track each whilst listening to the template track. I might do two or three takes of each instrument and then select the best one. If there is a really bad mistake then I might cut and paste in from a different take, but I tend not to do that, preferring to do a whole new take (quite a lot of swearing at this point).

When using an audio template I mute each recorded take when moving on to the next one or the next instrument, so I am concentrating on playing in time with the template track rather than what I have just recorded. When playing with a click track I will usually listen to the sax tracks I have just recorded and build up the arrangement that way.

The order in which I record the saxes depends a bit on the arrangement - often it will be SATB in that order but sometimes I would record the baritone first.

I try not to alter the recording volume between takes or between instruments and also make sure that there is enough "headroom" so none of them clip or distort. I don't apply any effects at this stage and don't normalise or amplify the volume. The sax tracks are just "dry" although I might remove any extraneous noises like coughing or breath noise in silences.

When it comes to mixing, I mute the template track and then pan the mono saxes as follows:
  • Voice 1: Sop sax (or lead alto if no sop) 20% right
  • Voice 2: Alto sax 70% left
  • Voice 3: Tenor sax 70% right
  • Voice 4: Baritone sax 20% left
With the sax tracks still dry (no effects) I try to balance the relative volumes and have the overall volume below about -3dB. Then I mix the four sax tracks down to stereo and apply some very gentle Reverb to that.

Rhys
 
rhysonsax said:
It's quite similar to when I record my sax with a backing track, using a dynamic mic via a FocusRite interface into Audacity, so I won't describe the basics, just what I do differently for a multi track sax recording.

In place of the backing track, I make a template track, which is either a click track, a rhythm track, or a model audio track that I have exported from Sibelius or found from someone else's recording of the exact quartet arrangement I want to record. I pan that hard over to left channel and use headphones with one ear on and the other off.

I record the different saxes to a mono audio track each whilst listening to the template track. I might do two or three takes of each instrument and then select the best one. If there is a really bad mistake then I might cut and paste in from a different take, but I tend not to do that, preferring to do a whole new take (quite a lot of swearing at this point).

When using an audio template I mute each recorded take when moving on to the next one or the next instrument, so I am concentrating on playing in time with the template track rather than what I have just recorded. When playing with a click track I will usually listen to the sax tracks I have just recorded and build up the arrangement that way.

The order in which I record the saxes depends a bit on the arrangement - often it will be SATB in that order but sometimes I would record the baritone first.

I try not to alter the recording volume between takes or between instruments and also make sure that there is enough "headroom" so none of them clip or distort. I don't apply any effects at this stage and don't normalise or amplify the volume. The sax tracks are just "dry" although I might remove any extraneous noises like coughing or breath noise in silences.

When it comes to mixing, I mute the template track and then pan the mono saxes as follows:
  • Voice 1: Sop sax (or lead alto if no sop) 20% right
  • Voice 2: Alto sax 70% left
  • Voice 3: Tenor sax 70% right
  • Voice 4: Baritone sax 20% left
With the sax tracks still dry (no effects) I try to balance the relative volumes and have the overall volume below about -3dB. Then I mix the four sax tracks down to stereo and apply some very gentle Reverb to that.

Rhys
Click to expand...
Interesting. I’ve always done Bari upwards. I find it to be a difficult process, so much easier playing alongside even just one more player. I’ve done a few big band recordings in that way, where all tpt, tbn and saxes were covered by 6 players. There’s backline to play to though, unlike the SATB only quartet.
 
Pete Effamy said:
Interesting. I’ve always done Bari upwards. I find it to be a difficult process, so much easier playing alongside even just one more player. I’ve done a few big band recordings in that way, where all tpt, tbn and saxes were covered by 6 players. There’s backline to play to though, unlike the SATB only quartet.
Click to expand...

Cloning can help ..


Rhys
 
Pete Effamy said:
I didn't post my own version, here it is. I recorded this a few weeks ago but I didn't like it. On listening again, I sorta like it - at the moment! So gonna post it while I'm okay with it..

https://soundcloud.com/peter-effamy%2Fdays-of-wine-and-roses
View: https://soundcloud.com/peter-effamy/days-of-wine-and-roses
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Excellent, Pete. What's not to like!? Great control, tone and great lines. That's something I'll be working hard for a long time to achieve (if I ever do achieve it). Nice one.
 
Lovely and tasteful recording. I really like the use of space and your tone.

Pete Effamy said:
The problem is that I'm hearing my idols play my lines as they come out of my head. Music is a tormenting curse most of the time!
Click to expand...

That gives me an idea for another thread about how improvisers come up with ideas - I'll go and start that now.

Rhys
 

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