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Doug Wynne



Last Updated: 10/18/2008

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Status: Single
City: Newburyport
State: Massachusetts
Country: US
Signup Date: 2/21/2007

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Monday, March 12, 2007 

Category: Music
Back when dinosaurs and analog 24 track machines roamed the Earth, making records was kind of like making movies. There was a big investment by a big company that brought together a team of songwriters; a producer who wasn't unlike the director of a film; maybe an arranger and studio musicians; and an assembly line of technicians from tracking engineers to a mixing specialist.

I know lots of pop records are still made that way and things haven't changed too much for bands, but it seems to me that for the independent recording artist, the process has shifted to more of what novelists do: sit in a room by yourself and create a world on your computer.

This shift to a more solitary creative process can be empowering and more personal, but also lonely, unchecked and unbalanced. You don't have to fight with bandmates and executives about the specifics of your vision for a song, but you are also more inclined to give your ego free reign and overlook your weaknesses.

Virtual drums and string sections have become about as convincing as Hollywood special effects in recent years, which is to say believe-able, if not perfect. And I still try to bring in friends who can do the things I hear but can't do well enough myself.

What I've found is that the only real substitute for collaboration is to use time as my best critic. I have to let the tracks sit long enough for me to gain some perspective. Enough perspective that I can be as ruthless as a band mate or a producer would be, and cut things out that I worked hard on and maybe care deeply about. This also gives me fresh ears as an engineer. It slows the process down, but I think the finished product is better off.

I'd like to hear from other self-producing singer/songwriters about this. What works for you? What doesn't?
Robert May / Songwriter

 

What I've found is that the only real substitute for collaboration is to use time as my best critic. I have to let the tracks sit long enough for me to gain some perspective. Enough perspective that I can be as ruthless as a band mate or a producer would be, and cut things out that I worked hard on and maybe care deeply about. This also gives me fresh ears as an engineer. It slows the process down, but I think the finished product is better off.

I'd like to hear from other self-producing singer/songwriters about this. What works for you? What doesn't?

I agree with you completely on this. I have recently come back to songwriting and I seem to have gained an ability or maybe the willingness to throw out what does not fit. I think it has somthing to do with maturity.

Time is a great eye opener and critic, but so is not taking yourself too seriously.


 
Posted by Robert May / Songwriter on Monday, March 12, 2007 - 7:50 PM
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Keaton Branch

 
I'm a singer/songwriter from Houston, and I've just gotten back into writing mode. I got throughout my day, even at work, with a little notebook and a pen and take notes on emotionally-impressionistic things I see. I write down beautiful things, horrible things, catchy things that randomly come out of my mouth during conversation - anything. I go back through them when I get home and write the good ones on sticky notes, moving them around like puzzle pieces until I get something that I can put into a song. It's something that I've done for a while and it seems to be my answer for the creative process.
 
Posted by Keaton Branch on Thursday, March 15, 2007 - 3:27 PM
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KC de WINTER

 

It's not so much the creative / writing/instrument thing but more the room and equipment, [if you are recording yourself]. The monitoring and room acoustics are crucial for accurate listening especially if you are going to mix too.

 I still think it's worth paying the extra to have the final master done elsewhere though. then you get the extra ears to see if your mixes are going to "travel" OK.

 K.C.


 
Posted by KC de WINTER on Friday, March 16, 2007 - 10:25 AM
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Doug Wynne

 
Thanks for chiming in, guys.

I like that idea about shuffling the random notes from a day of phrases that caught in your filter. I bet you get a lot more songs from that approach than you would by waiting for more fully formed ideas to appear.

And as for room acoustics and equipment, I agree that if it's in your budget, it helps to pay for it, as well as for the 'objective' perspective of a different engineer when mixing. I've done my best to prep my studio for balanced response and I always borrow a variety of speakers when mixing to get away from just my monitors. Adding a ksubwoofer can also tell you alot when working alone in a project studio.

I just prefer tweaking the details of my mixes for way too many hours to be able to afford a hired engineer. But that's because effects and production are sometimes part of my writing process.
 
Posted by Doug Wynne on Friday, March 16, 2007 - 5:30 PM
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