Recording - August 2010 - 16
Late last fall, I was recommended by my good friend and former Berklee classmate Cheche Alara, a well-known keyboardist, musical director, composer and producer who has worked extensively with the likes of Christina Aguilera (www.chechealara.com), to write and record four songs and two instrumental pieces for a play to be premiered in mid-November at the Los Angeles Theatre Center in Downtown Los Angeles. Sponsors included Target, Boeing and the Walt Disney Company. The playwright and director was Luis Ávalos, a respected TV and film character actor who was part of the ensemble cast of that beloved 1970s PBS show The Electric Company, and who recently appeared in the film The Ringer. The play is called Pachamanca: Mother Earth, a one-hour piece with an environmental message. I jumped at the chance to participate in this project, and met with Mr. Ávalos a few days later. We discussed the script, which included lyrics for the four songs. The task was to compose music to those lyrics, with some leeway in terms of lyric structure and form, but practically no room at all for actually changing the words. I was given some examples of songs and moods (everything from “Red and Black” from the play Les Miserables, to “The Prayer” by Celine Dion and Andrea Bocelli). I also had to compose incidental music for two sections of the play. Mr. Ávalos and I agreed to meet on a weekly basis at his Hollywood Hills home to review my progress. The first cast rehearsals were only a month away, so I had to get to work immediately. I learned a lot during these meetings, since the playwright/director also functioned as a kind of co-producer who provided me with invaluable feedback about the songs and the sounds I used. It also didn’t hurt that he’s a pleasure to work with and we got along extremely well. Demands The performers were to sing the songs live to pre-recorded tracks, so the final versions of the songs had to be purely instrumental. However, since the actors and actresses had to learn the material, I had to present them with vocal versions that included multiple harmony parts in addition to the lead lines. I was given a budget for demos that would serve the dual purpose of working out the details with Mr. Ávalos and eventually helping the singers learn the material and rehearse it. I was also given a budget for producing the final recording and mixing. As I was working on the demos, I was continually assessing the quality of the takes and performances, hoping to use as much of these as possible in the final versions. The Gear I produced the demos for the four songs, plus the final versions of the opening number and two instrumentals, at my personal studio in Encino. The computer was my extremely reliable pre-Intel Power Mac
16
RECORDING AUGUST 2010
BY BETO HALE
http://www.chechealara.com
Recording - August 2010
Table of Contents for the Digital Edition of Recording - August 2010
Recording - August 2010
Fade In
Contents
Talkback
Fast Forward
PreSonus Studio One
Recording the Music for a Theatre Play
AEA A840 Active Ribbon Mic
Jennifer Batten
Reviewed and Revisited
Running Your Studio Under Linux
Recording’s Guitar Column
Steinberg CC121, MR816 X/MR816 CSX, and CI2
Glyph GT 062E
Recording’s Showcase of Sounds
Muse Research Receptor 2
It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2
Plug-in Outlet
Readers’ Tapes
Advertiser Index
Fade Out
Recording - August 2010 - Recording - August 2010
Recording - August 2010 - Cover2
Recording - August 2010 - 1
Recording - August 2010 - Fade In
Recording - August 2010 - 3
Recording - August 2010 - Contents
Recording - August 2010 - 5
Recording - August 2010 - Talkback
Recording - August 2010 - 7
Recording - August 2010 - Fast Forward
Recording - August 2010 - 9
Recording - August 2010 - PreSonus Studio One
Recording - August 2010 - 11
Recording - August 2010 - 12
Recording - August 2010 - 13
Recording - August 2010 - 14
Recording - August 2010 - 15
Recording - August 2010 - Recording the Music for a Theatre Play
Recording - August 2010 - 17
Recording - August 2010 - 18
Recording - August 2010 - 19
Recording - August 2010 - 20
Recording - August 2010 - 21
Recording - August 2010 - AEA A840 Active Ribbon Mic
Recording - August 2010 - 23
Recording - August 2010 - 24
Recording - August 2010 - 25
Recording - August 2010 - Jennifer Batten
Recording - August 2010 - 27
Recording - August 2010 - 28
Recording - August 2010 - 29
Recording - August 2010 - Reviewed and Revisited
Recording - August 2010 - 31
Recording - August 2010 - Running Your Studio Under Linux
Recording - August 2010 - 33
Recording - August 2010 - Recording’s Guitar Column
Recording - August 2010 - 35
Recording - August 2010 - 36
Recording - August 2010 - 37
Recording - August 2010 - Steinberg CC121, MR816 X/MR816 CSX, and CI2
Recording - August 2010 - 39
Recording - August 2010 - 40
Recording - August 2010 - 41
Recording - August 2010 - 42
Recording - August 2010 - 43
Recording - August 2010 - 44
Recording - August 2010 - 45
Recording - August 2010 - Glyph GT 062E
Recording - August 2010 - 47
Recording - August 2010 - Recording’s Showcase of Sounds
Recording - August 2010 - 49
Recording - August 2010 - Muse Research Receptor 2
Recording - August 2010 - 51
Recording - August 2010 - It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2
Recording - August 2010 - 53
Recording - August 2010 - Plug-in Outlet
Recording - August 2010 - 55
Recording - August 2010 - Readers’ Tapes
Recording - August 2010 - Advertiser Index
Recording - August 2010 - 58
Recording - August 2010 - 59
Recording - August 2010 - 60
Recording - August 2010 - 61
Recording - August 2010 - 62
Recording - August 2010 - 63
Recording - August 2010 - Fade Out
Recording - August 2010 - Cover3
Recording - August 2010 - Cover4
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