I ever find myself engaging in conversations around the grandness of "details" in medicine as a whole. If you hold the dictionary, details are particulars considered separately and in relation to a whole. In other words, without the details, it is hard to see and see the big picture. These small, elaborated elements have the difference.
The final few days I have been trying to get deeper and deeper in the session scene. I had the prerogative of running with many amazing music producers. The more I converse and discourse with music producers, the more I admire their skills, perhaps the saame way we admire the skills of top bass players. Bassists like Jaco Pastorius, Marcus Miller, Ray Brown or even some more contemporary bass players like Damian Erskine or Hadrien Feraud are simply remarkable. Their time, feel, sound and near important their "sound" are back to none.
The "better" music producers - or should I say the music producers who pay attention and experience how to cover the subtle "details" of a musical composition - are extraordinary individuals as easily as musicians. In gain to their amazing musical abilities, they can understand, oversee and experience how to use small subtle elements, in place to get their music unique and exceptional.
Top music producers got their skills from running on details. They practiced small things again and again, repeating their example with - as good as within- every music principle. By using the information they learned in a normal study room, their skills became second nature. These producers throw it seem so easy, to compose, re-harm, arrange, program, record etc, when in fact they stumbled through their procedure for a long time until they became prosperous with all these data they mastered.
If you see top-notch producers such as Rick Rubin, Nicolas Farmakalidis, Peter Gabriel, you will see what I mean.
A few years ago, I had a large as good as very educational recording at Neilaproductions, for an up and upcoming singer - songwriter style album. It was likely the most instructive experience of my life. Before the recording, the producer explained the particulars of the recording. The clearer the facts of the recording, the best the issue will be and the earlier we will finish.
The producer creatively guided and directed the work of devising the record, like a manager would a movie. The music producer`s job is to create, shape, and form a part of music. What I really found amazing was that during the recording, the manufacturer changed my bass note as good as the strings voicings, doing re-harmonization and transcription on the spot. I did take the "science" of re-harmonization as well, however to be capable to do it during a recording session and be perfectly correct without having an instrument adjacent to you, is just astounding.
If music is played as an art, I personally think that it is better to be learned as a science though. It can be as particular as chemistry. For instance, if you have a small third and add a perfect fifth from the root, the event will be a minor triad. Consequently, in chemistry, if you have two atoms of h and add one molecule of oxygen you make one water molecule. The important is to see the difference. Music is an art that has ever offered the better results to students who see it as a science. However, after you acquire knowledge of these certain methodologies, you do those with love and a trust to produce and touch people`s hearts. My head is that, my friends in Neilaproductions must have been studying arrangement and re-harmonization as a skill and now they are good and learned enough to be capable to use that cognition in range to make and raise the ravisher of a man of music.
My final point, which I realise the more I read and record, is the conception of "time". The performed rhythm - for example a deep line - can go very straight, exactly on the beat, swinging laid back or rushed. Important is how a listener perceives the timing of these rhythms and recognizes it as being `rushed` or `swinging`, as good as why a beat with a somewhat shorter note not is only a different rhythm. These are matters that we do not typically reference in music theory. However, they are crucial aspects during a recording session as good as they are fundamental in the evolution of a cognitive theory of medicine as performed and listened to. Research in the sensing of medicine as well structuring of events in music, is rather dissimilar from the conception of meter in physics. "Listeners to music do not perceive rhythm on a continuous scale. Instead, rhythmic categories are recognized which serve as a reference relative to which the deviations in timing can be appreciated". (Nicolas Farmakalidis)
In fact, temporal patterns in music combine two time scales that are fundamentally different: the discrete rhythmic durations as symbolized by, for example, the half and draw notes in a musical score, and the continuous timing variations that characterise an expressive musical performance - what musicians referred to as"feel". By existence in the studio with gifted musicians and producers you see how important sentence is and how it varies from every mode of medicine to another.
To sum up, pay attention to details. This is what makes the difference. Every major artist and every truly dedicated student in every art form this.
Thank you very much for posting this, I really appreciate it. I am preparing one more article that involves your music . I would like to send it to you if that is ok.
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