Home Recording Studio

IMG_7727.JPG

Until the year 2012 I was a 100% analog musician. I had used Finale since 2001, but that was the extent of my relationship with music technology. I was so obsessed with musical “purism” that I foolishly decided as a young person that I wouldn’t so much as write music with percussion in it. Well, times have changed.

In 2012 I began a Master’s degree (2012-2014) in music composition at the University of Utah. During my first semester, I was introduced to Logic Pro which I had to buy and use to create “electro-acoustic” music for a course.

Logic Pro is the professional version of Garage Band. It is an Apple-owned software used to create, record, mix, master, and produce music. These are called DAWs or Digital-Audio Workstations.There are many types of software like Logic: Pro-Tools (industry standard), Steinberg Cubase, Presonus Studio One, Reaper, Audacity, and Reason. Here’s a picture of my Mac running Logic Pro 9.

IMG_7732.JPG

Look at them, shop around. I prefer Logic Pro because that’s what I was introduced to. It’s expensive because it can only run on Apple Computers, which are expensive. I know producers who use Cubase, Presonus, and Pro-Tools. I’d recommend something that can run on either Windows or Mac.

Another consideration to make about computers, is that you want at least 16 GB of RAM and a high end processing speed (I use a 2.9 GHz Intel Core i7 processor) in order to run everything smoothly. Make sure the hard drive is solid state as well.

Getting good speed and RAM is cheaper when you buy a PC – it is quite expensive on an Apple computer.

I’ll get into DAWs in another post where I can go into more detail about how effective they are and what you can create with them.

My Epiphany

So I used Logic to record random projects, experiment, and have a good time. In 2014, I bought a midi keyboard to help me make projects go faster in Finale.88 key.jpgIn 2015 I took some extra music lessons from a film composer and I learned from him about virtual instrument libraries. I had known about Garritan Personal Orchestra and others, but I never actually knew how to use them or what their true value was.

I learned from this composer that I should experiment with Eastwest Sound Libraries. My epiphany was that if I could record and produce music in my own house, then I should do it! If God blessed me with the ears and fingers to write music, then why shouldn’t I be sharing that with the world?

composer cloud.jpg

Now these sound libraries produce excellent sounding instruments. I control the instruments from my midi keyboard (which produce thrillingly authentic sounds) and then my DAW, Logic Pro, keeps track of what I input into the program. So after laying down multiple instrument tracks, I can have my computer playing symphonic music back to me that sounds true to life. This is not like finale’s playback button that can make pretty sounds – this can make your heart throb.

So I bought a $650.00 package that came with all the instruments of the Symphonic Orchestra. Those instruments sit on an external hard drive and are at my beck and call. When I need them, they play for me.symphonic orchestra.png

In addition to that, I pay a $29.99 per month subscription to 9,000 other virtual instruments, many of which I use in my studio every day.

I spent the months of October experimenting with these sounds. I made several short demos to show off how great this instruments sound. One day I spend eight hours making this 8 second clip of the Star Wars Main Theme:

I also made some original demos using these virtual instruments:

So once I got familiar with these virtual instruments, I knew that I needed to be able to record as well.

So I took several online courses at Udemy.com one of which was “How To Record Voice Like a Pro.” I waited until these $200 courses were on sale for $15 each. I took online courses in mixing, editing, recording, etc. This was a turning point in my life.

I knew that to start recording I needed:

  1. A Microphone
  2. An Audio Interface
  3. A room that was acoustically treated well enough in which to record audio

Luckily for you and me, there is an awesome package sold by Presonus that contains everything you need to start with.

presonus.jpg

This package comes with a DAW by Presonus, a large diaphragm condenser microphone (cardioid pattern), mixing headphones, audio interface, boom stand, and cables.

Everything you need to start recording is in this package. This is one here is only $219.00.

I bought this package and have subsequently purchased another microphone which I LOVE!

 

When we purchased the equipment, we hung hung blankets and mattress pad foam on the walls. The basic idea is that we want to reduce the reflection of sound waves in the room so that reverberation does not come back into the microphone and detract from the clarity of the signal.

We also purchased this reflection filter that seeks to dissipate the singer’s sound waves immediately after being picked up by the microphone.SE reflection filter.jpg

We’ve recorded speech for theatre auditions, pop songs, opera arias, instrumentalists, and more. We create our own minus tracks with my virtual instrument library and we produce our own music from the comfort and convenience of our own home.

IMG_7735.JPG

Oh, and once the school year ends we’ll be un-employed besides teaching music lessons so come on over if you want to record, have flute, clarinet, sax, voice, piano, theory or another kind of music lesson. We currently teach voice, piano, flute, and music theory lessons. 🙂

IMG_7730.JPG

Advertisements

New Tools in Writing Music – NOTATION SOFTWARE

This is the first post in a series I’m making about how to produce music in your basement. This post is on Notation Software. Other posts will follow on Digital Audio Workstations, Music Sample Libraries, Recording, etc.

Read on to learn about how to use music notation software, what it costs, pros and cons of competing softwares, free software, and more!

Download Finale keyboard shortcuts for Mac here!

Download Finale keyboard shortcuts for Windows here!

Screen Shot 2015-12-08 at 4.58.32 PM

NOTATION SOFTWARE

Notation Software is a program that allows you to write music, create sheet music, insert notes, rests, measures, multiple parts etc. Once you have put notes down on the page, you can press play, and it will play the music back to you.

Buy Finale 2014.5 here.

Get Finale Notepad Free.

Buy Sibelius here.

Get Musescore Free.

Let me first let you know what I have and what I do. I have been using notation software since 2001. I started out on Finale 2001. I upgraded to Finale 2007 when I went to Utah State University. Since then I have upgraded to Finale 2012 and Finale 2014.5 which is the latest version of that notation software. If you want to be relevant, or if you want your software to run smoothly on your computer, you will need to be committed to upgrading your software.

Initial Cost and Upgrades

The latest version of Finale runs at about $600. Once you’ve purchased it, upgrades only cost you about $150. Every 2-3 years an upgrade is released. Upgrades include new features, bug corrections – sometimes they are monumental upgrades, other times  the upgrades are less-noticeable. Some upgrades are free e.g., when Apple released it’s OS El Capitan, Finale 2014 wasn’t going to be compatible with it. So Finale sent out an email telling its customers not to download the operating system El Capitan until Finale released an update that would make finale compatible with it. Then about a month after El Capitan came out, Finale released Finale 2014.5 which was a free upgrade for anyone who already owned Finale 2014, which I did. They took the time to address other bugs with the software, and now Finale is running smoother than ever.

What is Finale Like?

Finale lets you set up a score the way you want. You may choose the instruments and their order. You can also let Finale put them in “score order” for you. You can import and export files into MUSICXML files which allow you to transfer files between competing softwares i.e., Finale and Sibelius.

Finale Start Up

This is how you set up your score. You select them on the left and add them into the box on the right. You can let the instruments default into score order, or use the arrows on the right to manually adjust the order. The instrumentation can be edited later on in the score editor, but doing so can corrupt your file. If you confuse the program, sometimes you need to copy and paste the contents of the measures into a new clean document. This is one feature that I’d like to see fixed later on.

Score Set up

You type in the info that you’d like to make appear on the score. This info can be edited easily later on.

 

Screen Shot 2015-12-08 at 4.10.00 PM

 

You select your time signature, key signature, tempo, and number of measures. All of these things can be easily changed later on. You’ll easily be able to transpose, change keys, change time signatures, adjust tempos and so on. You can also select a variety of other asymmetrical time signatures.

Screen Shot 2015-12-08 at 4.12.35 PM

Your work station will then look like this, and you’ll have a toolbar across the top of your screen which will help you access a number of different options from transposing, to inserting cautionary accidentals.

Screen Shot 2015-12-08 at 4.17.21 PM

One of the most useful tools I have is my 88-key midi controller. I bought this in October of 2014. Since then, it has been part of every technological music project I’ve ever done.

keystation88

Buy a midi controller here.

I use this midi controller to speed up my data entry into finale. It can literally save you days of work. You can use the hyperscribe option Screen Shot 2015-12-08 at 4.47.59 PM in finale to insert music in real time. You need to adjust the parameters so it knows how picky to be with the rhythms you play into it e.g., you can tell it not to record anything faster than an 8th note – then if you accidentally play something too quickly, it will interpret it as an 8th note.

You can also use the speedy entry tool  Screen Shot 2015-12-08 at 4.47.51 PM  to use the midi controller to control pitch (not in real time.) Both the hyperscribe, and the speedy entry tools are very useful.

Some other features that I love are the abilities to export the file as midi data (then it can be read by any program that reads midi files such as pro-tools, logic pro, garage band, etc.,) and the feature that allows me to export my music into PDF files.

The great thing about PDFs is that you can print on any size of paper and make it as big or small as you’d like, and you don’t lose ANY resolution. Everything stays crisp.

I’ve used Finale to write my Master’s Thesis, prepare music for commercial publication, and  various other projects. Here are some of the final products:

Screen Shot 2015-12-08 at 4.54.37 PMScreen Shot 2015-12-08 at 4.55.39 PM

Screen Shot 2015-12-08 at 4.56.36 PM

These are screen shots, so the resolution isn’t great. But the actual files look flawless.

Finale’s Competitor: Sibelius

Finale’s main competitor is Sibelius. I’ve heard from many trusted sources that Sibelius is better than Finale. If you are new to notation software, you should start with Sibelius. I hear it is more intuitive and less bulky.

If you are very competent with Finale and you truly know it like your phone number, then you shouldn’t be reading this part of this post, and you should stick to Finale. I’m in that boat, I have years beyond years of experience with Finale for various projects which have required much more than a casual knowledge of it. At this point it would slow me down a lot to switch to Sibelius.

Your notation software will only get you so far. It will not help you produce music from your home, it will help you create sheet music for others to perform and publish your music.

FREE NOTATION SOFTWARE

Finale Notepad is a free version of Finale. It is extremely limited, but it may be useful for simple projects, and as a trial software.

http://www.finalemusic.com/products/finale-notepad/

Get Musescore Free.

NEXT POST:

Digital Audio Workstations

Resumé – Shane Mickelsen

Shane Mickelsen

IMG_6741bw

EXPERIENCE

West Jordan Symphony

Music Director – November 2015 – Present

The Piano Guys

Aural Music Transcriber – various projects – 2015

Co-arranger for book of Piano Solos – 2015

Cottonwood Heights Symphony

Guest Conductor/Clarinetist (summer 2015)

Utah Philharmonic Orchestra (independent contractor)

Associate Conductor – 2015

Interim Artistic Director – 2014 – 2015

Bass Clarinetist – 2014 – 2015

Music Teacher – American Heritage of South Jordan – 2013 – Present

Choir Director – current

Band Director – current

Orchestra Director – current

Latin Teacher – current

Private Voice Teacher 2012 – Present

Private Music Theory Teacher – 2012 – Present

USU Chamber Singers 2007-2010

Album, Show Me Thy Ways – 2010

Performance at Yale University – 2009

USU Opera Productions

Director/Conductor, The Wolf and the Seven Kids – 2010

Melchior, Amahl and the Night Visitors – 2007

Chorus, Luisa Fernanda -2008

Chorus, Martha – 2008

Chorus, La Rondine – 2009

Vicar, Scenes from Albert Herring – 2010

Pinellino, Gianni Schicchi – 2010

ACDA Men’s Honor Choir 2006

RHS Symphonic Band/Marching Band/Orchestra/Madrigals/A Cappella Choir

Clarinet 2004-2007

Drum Major 2006-2007

Riverton Children’s Choir Member 2000-2003

EDUCATION

University of Utah                      2012-2014

Master of Music – Music Composition

Utah State University                2007-2010

Bachelor of Music – Vocal Performance

Private Theory/Composition/Orchestration Study

Christine Mickelsen 2003 – 2007

Sergio Bernal – 2009

Mark Emile – 2009

Steve Roens – 2012-2013

Miguel Chuaqui – 2012-2014

Merrill Jenson – 2015

Voice Study

Gary Sorenson 2004-2007, 2014-2015

Cindy Dewey 2007-2010

Private Violin Study (summer lessons to increase familiarity)

Savanna Seaman – 2014

National Association of Teachers of Singing member

National Association of Music Educators member

Utah Music Educators Association

George N. Parks Drum Major Academy (2006)

Awards

University of Utah – Composition Scholarship – 2014

University of Utah – String Quartet Composition Competition Runner-up – 2014

USU – Outstanding Contribution to Opera Award – 2010

USU – Robbins Award Nominee – 2010

USU – Full-Tuition Vocal Scholarship Recipient

USU – Opera Quartet Scholarship Recipient

1st-Place NATS Winner – 2006

2nd-place NATS Winner – 2007

3rd-Place State Fair Classical Music Competition – 2007

3rd-Place State Fair Classical Music Competition – 2006

Eagle Scout Award Recipient

AP Music Theory Test score 5/5

Skills

Electronic/commercial music

Skilled with recording/mixing software Logic Pro 9

Finale 2014

Eastwest Symphonic Orchestra Virtual Instrument Library Platinum Plus

Skilled Pianist/Accompanist

Music Arranger/Composer

Orchestral/Choral Conducting

Voice science/pedagogy

Italian language teacher

Latin Language teacher

English Language teacher

English Grammar teacher

Woodwind Instruments (Clarinet, Flute, Oboe, Saxophone etc.)

LDS Mission – Rome, Italy (2010-2012)

COMPOSITIONS

Children’s Opera, The Wolf and the Seven Kids

I Believe, song for solo voice and piano

Piano solo, Campi flegrei

Clarinet Trio, Il regno celeste

Song Cycle, Silvia

I. Silvia

II. La luce che fu

III. Risplenderai

String Quartet No. 1

I. The Window

II. Beyond

III. In Time

Symphonic Poem – Voices (commissioned by Utah Philharmonic Orchestra for Sept. 11 Memorial Concert)

Amazing Grace (Arrangement premiered by Utah Philharmonic Orchestra)

Co-arranger of The Piano Guys’ Book of Intermediate Piano Solos to be published by Hal-Leonard in Late November 2015

Various Orchestral Film Demos created with EastWest virtual instrument library and Logic Pro 9

 

 

Annie Jane Mickelsen – Born August 31, 2015

We found out that we were pregnant with Annie Jane in January of 2015. Kacee had a very normal pregnancy (and free from sickness – maybe not normal?) which we will document in a separate blog post. So anyway – she had a very normal pregnancy until the second week of August 2015. She was 32 weeks along and had just returned to teach guitar at AHSJ two days earlier. We had begun to notice that her ankles and face were beginning to swell, but being inexperienced in this endeavor, we ascribed it to pregnancy in general.

Nursery

Nursery

On August 12 we went to our normal doctors appointment and Kacee’s ankles were as swollen as the marshmallow man. The nurse took Kacee’s blood pressure which was in a healthy range. We breathed a sigh of relief because ever since I had learned what preeclampsia was, I was always relieved to hear that Kacee’s blood pressure was fine. This did not prepare me for when the doctor arrived. Dr. Wilson came in and with his first glance at Kacee I could see his mind start spinning. He said that we needed to run lots of tests and that she needed to be on bed rest. He told us that pending the results of these tests he would likely diagnose Kacee with preeclampsia within the week. This was kind of unexpected since normally higher blood pressure is the first symptom of preeclampsia and her blood pressure was fine. They wrote Kacee a note to inform our work that she wouldn’t be coming back for several days and Kacee went on bedrest. We noticed that her swelling went down considerably and she lost a lot of water weight.
This happened on a Wednesday. We had scheduled our first music video shoot for O Divine Redeemer for that Friday (just two days later). We called the doctor and asked if we could still do it. He said that she shouldn’t let the fear of possibly being sick stop everything in her life. He then said that he wouldn’t know if she actually was sick for a few more days. So we made the video and we’re very happy that we did.

Kacee started having appointments twice a week to monitor her blood pressure. On Monday the 17th she was officially diagnosed with preeclampsia which meant that she would have high blood pressure until the baby was born. This was dangerous to Kacee and to little Annie Jane but we were assured that the disease would go away soon after the pregnancy was over. Preeclampsia occurs in about ten percent of all pregnancies. We were lucky that Kacee was diagnosed at 32 or 33 weeks along (pregnancies normally last 40 weeks). If you are diagnosed early, then you may have a very premature baby and that’s risky for the baby’s survival.

On Wednesday August 26 we went to the hospital because Kacee was having small headaches and other symptoms of worsening preeclampsia. We called Kacee’s mom and she drove down and met us in the hospital. They ran some tests and said that Kacee and the baby we’re going to be fine. They sent us home after several hours. Kacee’s mom stayed with us a few more days to be of help to us which we appreciated very much. 🙂
Then on Saturday August 29, we checked Kacee’s blood pressure at home and it was very high (168/98 or something like that). That’s very high. So we called the doctor and he told us to get to the hospital. Kacee was still at 34 weeks and 6 days (still too early for comfort). We were unprepared to go, but we (Kacee, myself and Kacee’s mom) just got in the car and headed over. They didn’t like how high the blood pressure was so they kept her overnight. I stayed the night too. They told us that she would not go home until the baby came. She stayed all day on Sunday being monitored until Monday morning on August 31. Then Dr. Wilson came in. He said that because of the extremely high blood pressure, it wasn’t safe to stay pregnant anymore. He said that we should move toward delivery that day. He said that we could do a C-Section or try to have the baby naturally.
He said that he foresaw that the baby would end up being delivered via C-section. He said that if we went naturally and we induced labor, that we would have a very long labor, and delivery and that it would likely fail and end in emergency C-section.
I voiced my opinion that if the doctor believed that C-Section was inevitable, that we should probably do a C-section first.
The doctor also said, that Kacee might feel better about doing a C-section if we had at least attempted to induce labor. This was still at 7am on August 31, 2015. He asked when she had last eaten. When Kacee responded that she had eaten recently, he said that we wouldn’t be able to do the C-Section until 5pm that day, and that we could induce labor in the meantime. We agreed that we should follow that course.
I left for work and taught until I received a text at 11:30am telling me that I should probably return to the hospital. I didn’t know what to expect or do. My orchestra kids told me that I needed to go to the hospital! So I had my orchestra kids to record the Nutcracker March on my phone for my newborn baby. They shouted “for the baby!” at the beginning of the recording. When we finished playing the song I dropped them off in the classroom next door, and I hurried to the hospital.
On the way to the hospital I used voice-to-text to create a lesson plan for Mrs. Newbold who was going to cover my 5th period latin class. I sent the email and ran up to the room.
Turns out that labor wasn’t really progressing. But how was I to know what to expect? Sometimes babies can just come unexpectedly! So I was there too early but I’m glad that I was there.
Kacee was on magnesium to keep her blood-pressure down, but hadn’t had any pain medication for labor. This is good, because it meant that she could have a spinal for the C-section (which means no laying on a tube in your back!)
James the anesthesiologist

James the anesthesiologist

The evening came and we decided to have a C-section. Labor had not progressed to the point where the C-Section was any more scary than normal. Kacee actually walked to the operating room. This picture is of Kacee meeting the anesthesiologist who would numb her for the surgery. The next picture is of the anesthesiologist prepping her surgery curtain to maintain a sterile environment for the surgical area, and so kacee wouldn’t be able to see her own surgery.
IMG_0244
I watched them do the c section. I watched them inject her spine with numbing medicine. I held Kacee’s hand when they cut open her belly and I watched them cut layer by layer until they got to the uterus. They made a cut and they got the baby out. I followed the baby over to the other table. They suctioned her mouth, nose, and lungs. The baby was breathing just fine on her own. Everyone was amazed because when you’re five weeks early, usually you need help breathing, and you need oxygen, and you need all kinds of help. Annie didn’t need any help. She was strong all on her own.
The doctor showed me the placenta which he removed shortly after delivering little Annie Jane. He showed me that little grey spots had appeared in many places on the placenta. He said that these were calcium deposits and signs of an old/deteriorating placenta – a byproduct of Kacee’s preeclampsia. He said that it had the appearance of a 41 week-old placenta. We’re glad that Annie came out before her placenta gave up the ghost. From what we’ve read, this is how preeclampsia can cause mothers to have still-born births.
Annie Jane Mickelsen

Annie Jane Mickelsen

We named her Annie Jane Mickelsen. She weighed 5 lbs 4 ounces. She was born at 18:18 (6:18pm) and she was 19 inches long. She’s strong enough to lift her head and roll on her side.
IMG_0257
The doctor said that Kacee’s body pumped extra nutrients to the baby because she knew that the pregnancy wouldn’t last much longer due to Kacee’s sickness. The baby developed faster and stronger so she could strive better outside the womb.
IMG_0258-1
In the nursery she passed all of her tests.
IMG_0260
Her oxygen levels were at 100% (they wanted to see at least 90%).
IMG_0297
Annie is our little miracle of the week. 😇😀

Amazing Grace | New Music Video

Here is our new music video of “Amazing Grace.” In our last post we discussed how we had originally arranged it for orchestra, reduced it into 7 clarinet parts, and made a recording of it.

Now we’re going to discuss the process of making a music video.

After we were finished recording the music track (click here to read about how we did that) we called up Dane Christensen, our awesome videographer, to schedule a filming appointment. He ended up not being able to make any appointments work as he now lives in California. So we called up Tanner Nielson, Dane’s buddy, and made an appointment with him. He is awesome as well!

Family Picture!

Family Picture!

FILMING

We decided to head up to a mountain trail in Layton, Utah – a location that Tanner suggested – and we brought:

  • Bb Clarinet (my new professional model – yayyy!)
  • Bass Clarinet (cheap model which I bought new in January of 2014 – it cost me $1,700, and while it’s not the ideal instrument, it was cheaper than these amazing Buffet models.)
  • Baby in carseat/blankets/diaper bag
  • iphones and/or portable bluetooth speakers

It’s important to have the speakers. Even if you can perform your music perfectly in the filming setting (say you have a piano and all the instruments you need) you’re not going to film the actual music. If you did, you would not get the best studio recording sound that you would want in your music video. You should first make the music just how you want it in the recording studio and then mime/play along with it in the filming. In the end, the audio from the filming will be deleted and replaced with the audio from your studio recording.

IMG_0443

We went out to a trail and I turned on the track to play along with. (Play along with the exact same track you’ll be using in the final audio/video mix – if you don’t, then your words and notes won’t line up properly.)

We filmed me on my little clarinet in one location. I played along with the track (which was playing from my iPhone in my back pocket). I then did the same thing with my bass clarinet and we repeated the process in a few other locations on the mountain trail.

While I played the clarinet, Kacee was feeding our baby girl. After twenty or so minutes, I took the baby and burped her while Tanner filmed Kacee singing. We then got some shots done together while the baby lay in her carseat as close to us as possible and as far away from the spiders and dirt as possible.

Burping the Baby

Burping the Baby

In the end we got some drone shots and Tanner almost crashed his drone into the trees. Pretty funny story when told by someone other than myself. Ha… 🙂 No really, still pretty awesome and funny. 🙂

So then in the end Tanner took all the footage back to his house and then lined up the best footage with the awesome master track which we had prerecorded. This is facilitated by the fact that we were playing/singing along with that track.

IMG_0452-1

And that’s how we got this beautiful video! Thanks Tanner and Clive!!!!

Here’s a demo of the orchestral version:

The process of arranging and recording “Amazing Grace”

Hello awesome people!

Today we want to tell you a little bit about our process in writing, recording, and  filming music. We have a brand-new audio track that we’ll be filming in the coming weeks. Click here to read about the filming of this music video.

Me and My

Me and My “Little Clarinet”

WRITING THE ARRANGEMENT

Last year (2014) I had the opportunity to conduct the Oquirrh Mountain Symphony (now Utah Philharmonic Orchestra) in a September 11 Memorial Concert. I composed two pieces for this concert including this arrangement of Amazing Grace. I used Finale 2014 to notate my orchestral scores.

Orchestral Score

Orchestral Score

This image shows a draft of that score.

Kacee and I wanted to make a recording of this music but we cannot afford to hire an orchestra to record it for us.

Cut off view of Orchestra Score

Cut off view of Orchestra Score

So I transcribed the piece for 5 Clarinets and 2 Bass Clarinets with the idea that I would record each line individually and then put them all together in the end. There were only a few issues with transcription:

  1. I cannot play the Clarinet as high as a professional violinist can play (at least not well). This means that I needed to make some octave adjustments which leave the clarinet version less expansive than the orchestral version.
  2. The Clarinet has a smooth attack. The sound on the clarinet begins with moving air. This is very different from the piano or drums which both use percussive strikes to elicit sound. Think of it like a coloring book. The Clarinet gives you color between the lines, while the piano and drums provide the dark outlines with their percussive attack (the piano then provides notes and color after providing the dark lined attack). This means that a clarinet-only piece will lack certain feelings of definitiveness. It will be airy and uncertain – kind of like really watered-down/flat soda.
  3. Along with the last issue, there is the lack of DIVERSITY in the tone color if you only use one kind of instrument. I think of clarinets as blue and purple, flutes as silvery pixie dust, Trumpets as vibrant yellow etc. In a clarinet-only ensemble you may have dynamic and harmonic contrast, but you will struggle to find contrast in TONE COLOR.

So these are the problems which presented themselves. How did we fix those problems? Well, read on! We basically solved these issues with a single solution.

We added piano to about 75% of the piece. By adding the piano we gave those darker/definitive lines to shape the color. By adding the piano to the clarinet lines we created a composite color (basically create a new instrument sound). The doubling of Clarinet and Piano is a satisfying blend. This only occurs when they play in exact unison – octaves don’t really count.

We gave it contrast by leaving some sections as clarinet-only, and we gave life to the high violin lines by leaving them for the piano instead of the clarinet.

Here’s what that 7-clarinet reduction looks like:

Clarinet Version

Clarinet Version

Now you need to know that I do not claim to be a clarinetist – I just really like that instrument, and I happen to own four of them.

Three Clarinets, one Bass Clarinet, two flutes

Three Clarinets, one Bass Clarinet, two flutes

So yes, there are many clarinetists who could have done a much better job than I did… but hey, I own the instruments, I might as well put them to good use!

RECORDING THE TRACKS

We went to our friend Clive Romney’s house to record the tracks. I brought him a copy of score (and dedicated it to him). Bringing a score makes the process a lot easier; it saves you time and money.

I sat down at the piano and recorded a “practice track.” We would then have that track as a reference point in recording the other tracks. This track would not be present in the final product. This track needed to represent the exact timing of the final product as we would use it to match the other tracks. I would also add pulsating 8th notes to act as a make-shift metronome.

I got out my clarinet and put on the headphones and sat in front of the microphone. The practice track came on through the headphones and I recorded the first clarinet track in time with the practice track.

Practicing the Bass Clarinet for the Recording

Practicing the Bass Clarinet for the Recording

Sometimes I wouldn’t play exactly in time with it, and I needed to go back and re-do it. We repeated the process until all five clarinet tracks were completed, and two more bass clarinet tracks were complete.

Once the clarinet tracks were done, we put Kacee in there where she sang like an angel. When she finished, I added the “real piano track,” to give added clarity where it was needed.

KAcee singing

Today between general conference sessions, I went back to Clive’s to add my input in the mixing process. With about ten different tracks happening simultaneously, we needed to boost some sections, and make others less-prominent.

CONCLUSION

So that’s how we got this track. It’s by no means perfect, but it’s a really fun thing to do! Click here to read our post about filming this music video!

O Divine Redeemer | New Music Video

Hello all, and welcome back to the Brick Playhouse!

We are just finishing up all of our nesting projects in preparation for our little one coming in about one month. The most exciting project of all, will be our new lullaby CD we made for our future little girl.

We have been singing and making music for the entire duration of Kacee’s pregnancy so far. Kacee has sung at the Met Competition, we’ve been taking and teaching voice lessons, singing in choirs, and singing together at our piano at home.

In other words, our little one is very familiar with a lot of music already. And we’re not talking about vibrations being manufactured by speakers and entering the womb through the mediums of air and skin – we’re talking about about a seemingly omnipresent resonance from a mother’s voice gently oscillating the womb from the inside.

This is why we’re making a lullaby CD for her. We want to remind her of all the beautiful music she’s been learning in there. We want to make her feel at home by hearing the song of her mother’s voice and her daddy playing the piano.

And here is our first music video made from our album of lullabies for baby girl.

greenpath

And here’s a shoutout to our awesome videographer: http://www.srndpts.com