13-15/9 I started with the Peter Tornquist;s piece. Its also composed/developed in
collaboration with Kjell Tore. Its one of the very few pieces that has a hit (!),
the last part of the piece. Kjell Tore once said ”When I play this piece there are
always people asking about this after the concert, this music communicates”.
So this is really something for my imaginary audience.
As with “Waves and velocities”, there was an rough mix of the piece that we did before
summer. When I played the piece this morning my first reaction was that the mix was
absolutely awful. All the levels and effects were ......totally wrong.
Spend 3-4 hours just getting the levels right and working with basic equalizing and
I guess this piece needs very precise levels between the musical sounds.
28/9 Mats Claesson plays Kjell Tore Innervik.
This blog needs more sound examples! As the final result will be a commercially available
product, this has to be sorted out with the publisher......
Week 43-45 In these tree following weeks I intend to have reasonably god mixes of
Week 43. Spend all free (?) time this week editing Ragnhild Berstads piece
“ “. As I wrote earlier, this was a complicated piece to record/produce Its very
hard to play (it doesn’t sound like that). There where numerous edits. My idea for
this weeks work is to make a musically acceptable version on my own, and then Kjell
Tore could come in and just sprinkle some fairy dust....
My idea was that when Kjell Tore came in we should work with the musical and not
spending time on to technical issues.
Week 44. Spend most of the week working on different aspects of the mixes. All pieces
got there workout. We gracefully let one of the composers in to the studio.
Øivind Torvunds piece needed some additional recording (according to Kjell Tore and
Øivind). I made a small sketch that I played to Kjell Tore and he politely talked
me out of playing it for Øivind Torvund.
The day after, Øivind came in. His idea was completely the opposite of mine .
We didn’t work for more than half a day. Its obvious that this is Kjell Tore:s preferred
method of working. Working fast and in directed contact with other people, bouncing
ideas and make the adrenaline flow.....
Worked on the mix. This is a simple piece mix wise. There are two main elements,
marimba and a tape part.
The tape part consists of many small objects that are clearly marked in the score
so its mainly first to place them and then adjust the volume. The piece consist of
many small moments and they are usually repeated. I tried to mix all small tape elements
individually so that each part fitted together with the marimba and the music. I
also tried to do the repetition a bit different
Week 45 This week was set to work together
with Kjell Tore. The aim is to have a god stereo mix on all of the five pieces buy
the 14th of November. We spent two days working on the Berstad piece. At the start
of the session, when I played my version for Kjell Tore he was not overly enthusiastic
but some parts were okay (he is a polite guy). Even if I was happy with my version
Kjell Tore:s fairy dust, made it much more musical. His idea was to make the phrases
much more in a forward motion direction, while my version was much more laid back.
I think that sometimes this (the forward direction) was to much, and I did some adjustments
after the session.
I’m a bit desoriented..... Now that I have worked more than a bit with this project
Its becomes clear that no one will (except me, Kjell Tore and the composers (maybe))
will ever know what we have done. The five composition that we work on now is not
known to others than a few.
This has become more and more discouraging.
After these three loong weeks I feel that we have four reasonably god versions of
the pieces. I’m not sure that they are close to the final product but hopefully not
that far off.
There will be no work done until the end of November.
Week 49-51. In these tree weeks we have to have finalize the mixed of all the 5 composition.
Make additional improvisations/pieces and finally evaluate the improvisations and
decide what will be on the CD. I also have to mix everything not only ins stereo,
but also in 5.1!!
And it should be ready to send to the record label no later than the 15th of December,
Listening to week 43-45:s work.
David Bratlie. I was not sure what to expect, but to my great surprise, I think it
works! I spend half a day to make it more dirty, a bit wider in frequency range (mostly
by extending the low frequency). Put it away for a day and then working with small
nuances in distortion level and mastering
(compression/limiting and equalizing on the master bus.
Listening to how it sounded at the beginning of the week (DON’T listen to the computers
speaker USE high quality headphones!)
And the final result:
Ivar frounbergs piece. This also sounded quite god, but her there where more work
that had to be done with details.
For example it started with this
And ended here:
Peter Thornqusts piece
was a complete catastrophe, absolutely nothing felt right . Compared to the other
two pieces it sounded awful,
unmusical, fragmented and boring. I started the mix from scratch deleting all automation
and effects. This is a tecnique I use when I dont know what to do. At the beginning
of the piece I added a filtered white noise that was synced to the marimba with an
envelop follower, this was all programmed in Reaktor. The filter cut off and resonance
was automated going from a low frequency to a high. This is not an effect that is
in focus but it made a difference and if its gone you definitely miss it. It starts
ay 0:25 and ends 1:12. I did a lot of work with something I called “the woodpecker
part”. In the end I deleted it all. I couldn’t get it to fit the piece.
The piece is built by small sections with each section having its
own live effect or tape part. And yet again (no surprises), this works great in a
concert. But the transition between the sections felt awkward on the recording. I
tried all sort of things to make them glue together. Adding sounds, working with
dynamics and timing.
When I played this for the composer Peter Tornquist made a brilliant suggestion.
He said that we should not separate the building blocks but have them much closer
in time. That triggerd the final ideas and the mix suddenly started to work. There
are a long ending a slow and “spacey” part. To make it work I had to separate all
elements deleting sounds that was not clearly audible. I then made groups of sounds
that naturally belonged together like marimba, voice cymbals/tam-tam and and gave
them the space and possessing they needed.
There are a lot of reverb here, especially on the voice. At a concert its just a
long reverb. A long reverb on the recording/mix sounded to much old school, almost
like a bad idea, in a concert situation it makes magic. To recreate that feeling
I had to use the longest effect chain on this CD. Its 8 effects on this voice channel.
Compared to a concert, the voice is also mixed lower on volume.
Separating the sound elements and deleting the soft sounds hardly heard, opened up
the sound a lot. I also discovered sounds and phrases that I hadn’t heard before.
There where some new sounds on this new mix and even a new ending, forexample the
beautiful little marimba phrase that ends the piece.
I was really happy with the
result, the music flows effortless from section block to section and the mix is clear
When played this to Kjell Tore and Peter Tornquist the liked it a lot. Well that's
not completely thru. Kjell Tore always have to listen to a new mix a couple of times.
He is the person that knows the pieces best, in a way much better that the composers,
so he is the one that hear all the changes. He has to process the new mixes before
he knows what he knows what he means. It almost always starts with him being a bit
sceptical. Easy to understand as these pieces haw gone thru a lot of changes.
Øivind Thorvunds:s piece worked pretty well. The only thing I did was to raise the
marimba level by 3 db.