Producing jazz music requires a different touch than other kinds of music. In other genres, the musicians readily isolate themselves in booths in the studio so that microphones don't pick up sound from the other instruments. Often, they even play their parts at different times, using other musicians' recording before them to guide their playing. In jazz, however, much of the energy comes from the musicians being near one another and responding to one another's musical ideas, and this requires live playing together. Some tricks of the trade allow the producer to get the energy he or she wants while maintaining the purity of the sound.
Things You'll Need
The producer must bring a vision to the studio. The combo may have played the material before, but the producer needs to convey a message from the music that will set it apart from other recordings. Examples: Does the rhythmic treatment need to be accentuated because it drives the piece? Do instruments playing counter melodies need more emphasis because they make the piece unique? Have the musicians made choices, or do they simply play the song from feel and perhaps create harmonic problems they're not paying attention to? The producer serves as the one with the vision and the master of the details to make that vision come alive. The producer probably hears something unique and exciting in the sound that makes him/her want to work with the group, so the band should listen closely to the producer's direction.
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Instructions
1
An isolation booth allows the performer to see while keeping outside noise away.
Find a recording studio with a suite of isolation booths. These booths usually face a central room, have glass doors or windows and offer soundproof locations for musicians to play. This allows the musicians to see one another while playing, yet prevents sound "bleed" or recording of instruments onto another musician's microphones.
2
The singer drives the song and should remain the focus for the other players.
Place the singer, if there is one, in the central room. If there is no singer, put the lead instrumentalist in the center. The other musicians will focus on the primary voice this way, and this arrangement encourages a sense that the song has a central idea.
3
Musicians never think their part is good enough, so don't let them control your judgment.
Do several takes. When you find the one version that works best, don't allow the musicians to grumble about parts they could have done better. Your job is to capture the most vibrant version, not the perfect version. Announce that this is the version you will work with.
4
Stay at the recording board to point out the part you want replayed.
Do overdubs. This is where the isolation booth strategy pays off. Each instrument has its own track with no extra sounds from the other instruments. Now musicians can, one at a time, go back into the isolation booth and fix parts they wish they had played better. You only have to record that part, not the whole track.
5
Only you and the engineer attend the mixing session.
Once all parts are fixed, do the mix. Send the musicians home for this. The bass player will say his part is not loud enough, the piano player will fight for his part to stand out. You have to take charge of the mix and do what is right for the song.