When I go into the studio, I am trying to transfer an idea I have in my head into a recorded form others can hear. I guess it has a lot to do with your intent. I have mixed feel about pitch correction and beat detective. Don’t ever forget it, and if you want it, you have to work for it. Not just the basic song and lyrics.īiggest message, and I have been at it 43 years now, is, it does take work. My latest few songs, I did work out all the bits properly before recording. I had gotten away from that,for various real reasons. Recording had become (for me) a bit of, well, yeah, there’s an idea, quick capture it, yeah, close enough.įollowing a LOT of what Graham prompts us with, I have gotten a LOT more serious about thinking/practicing pieces. I think it’s going to be good to have to think about performing properly. Best of all, I get to perform my own songs. It’s going to be my first gig in a long time. I have been asked to perform at a local book/coffee shop. Why is it done well?, practice, practice practice!!. Best recordings of live music is the performance is done well. I think it is easy to think, yeah, it’s OK. You have to try to get that best performance when the *tape* rolls. What I did get out of it though, and have been applying it again, is. Yes you can play those things, and work hard like that, but you don’t have to, and it’s doesn’t make you any less real. I went and performed the first songs I wrote at night clubs with it. I loved the reference to the 4 inch action on the guitar (my first guitar I had) Riveria 1970, 64-14 gauge, black diamond strings. I f we pretended there was no opportunity to mix things later, I think we would get better recordings. His goal, every time the “record” button lights up is to perform to his absolute best. Now, I have no problem with Pro Tools and other DAWs allowing me to tighten something up or pitch something a bit more in place, but I absolutely love his intent: he wants to get things right at the source. Mostly for its ability to “fix” performances or create performances that weren’t even there to begin with. One final thing you’ll notice throughout this interview (and others) is that Jack White isn’t a fan of the modern DAW. Another example of the paradox of choice and the power of limitations. With fewer options he can just work within those “boundaries” and be free to create art. He’s big into minimalism.īut part of what he likes about the limits of his minimalist mindset is that it frees him up. He tries to get the best possible song and recording with the fewest parts necessary. The Freedom Of LimitationsĪnother fascinating thing White mentions is his constant desire to work with limitations. If you want to create great songs, then work hard at your craft. Like I talked about the other day, songwriting isn’t about inspiration as much as it is about hard work. If he were to wait until he had some songs ready it would take forever. He will literally schedule studio time in order to be forced to write songs. One thing White mentions early on in this interview is how he works well under self inflicted pressure and deadlines. It’s over an hour long, but it’s worth it. Today I want you to listen to acclaimed songwriter and artist Jack White (of the White Stripes) share his insights on what it means to be an artist and the process of creating music in this interview with Conan O’Brien. His perspective on the process is fascinating and (if you let it) will motivate you to get back to work on song creation in your studio.
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