That's an "Order"....

           Well, I didn't think I had much to write about lately. When I'm not busy with normal chores I'm doing some stuff that's very boring to read about, attempting to get all the details together for tunes that haven't been done yet.
       But an issue has come up which must be dealt with for those of us who still make "albums". It's very similar to what performance musicians deal with in terms of planning "sets" for performance.
      What I'm talking about is the order in which the songs will be presented on the album. It's a subject that is extremely complex and almost an art in itself and worthy of an article.
      I'm sure we've all heard albums that had really good tunes, but something struck us wrong about it and ended up not being that memorable as entity in itself.
     The one I think of is Bob Seger's "The Distance". Maybe it's just my taste, but every song on the album (except one) I consider either excellent or Great! Yet it seems like whoever was in charge of putting them in order didn't have a clue.
This is where the "program" function (which I seldom use) on the CD player became very welcome. I was able to put them in an order that took a mediocre roster and made it downright inspiring....One should never underestimate this feature of music production!

    There are certain features that are the mainstays of good programming. First, you should have a good opening and closing song...These will set the impression for the whole album and is critical.
    Second, you need to take into account: 1)tempo 2)key 3)relatedness/contrast to the tunes around it. There may be other things to consider depending on your writing style, etc.
    Sounds simple enough? Now try to get all these things right for every tune out of, say, 12. You have two songs that complement each other perfectly in theme, but are in the same key and similar tempo? If you can make a medley out of them you can sometimes pull it off, but often not...Scratch your plan, scratch your head and start again.
    Put a tune in a slow tempo/key of A in place. Then you want to build into a somewhat faster tune. You've got the perfect candidate but...oh no! It's in the key of G! That won't have the "building" effect you are looking for. Start again.
    Ok, here's a tune that fits the "tempo profile" you want and it's in the key of say B (or D)...but it's either too similar to the tune before it, or so far out it can't even be considered for a contrasting tune...rather it tends to destroy the effect created by the last tune.
      HELP!
      Well, I am dealing these types of issues right now, which is why it came up as a topic...So here's what I do. Be patient. As with all music, use your head but the answers come more by feel. I write down what I know for certain, carefully consider the options and gradually let it fall into place.
      Also, sometimes I play the tunes on the guitar, trying the "homeless" songs in the missing slots and see how they go.
      And inevitably, when I finally assemble the intermasters onto the final recording, changes demand to be made. Everything from a minor rearrangement in order, to a radical change where one tune sticks out like a sore appendage and demands to be thrown off, and some tune you've barely begun preproduction on cries to be finished and put in the missing spot....OH BOY. Save me from that last! But such is the nature of art...cut corners and you should probably be exploring other career options!

"Tales of the (Studio) Crypt".....

          I've run into one of those odd situations you can get into in a recording project. It may be only of interest to the recording buff or the terminally curious; but here goes.
        
           I had previously copied my old home-recorded 4 track tapes into my digital system. Before putting it on the shelf, I made a new version of "Against the Tide" by replacing most of the tracks, except the "bass". That track was actually an electric guitar, recorded with the tape machine running at double speed so it would play back an octave lower.

        An that is the crux of the problem.
        Suddenly, this tune spoke up and demaded a place on the album I am currently working on. I reloaded the digital data and found most of the tracks had serious sound-quality issues...I believe this was due to my inexperience with new equipment at the time, plus some other reasons.
       I had written a disc of this new mix, with all new tracks...EXCEPT the original bass which I kept, but had laboriously chopped off the "string noise" that occured on nearly every note of the tune (when the string was released).
      Anyway, after reloading I decided to try to save the drums, lead guitar and vocal. The bass had several sound quality problems, so during my long session of moving tracks around to a more conventional layout that I have since developed, I erased the bass, intending to replace it.

    And this is when reality struck. After experimenting with a number of bass sounds, I realized I could get a cleaner track, but could not replace the unique character of my taped "bass". One of those moments! I finally decided that "character" was more important artistically than a "clean track", so I am in a position where I must erase the tune, & reload the data, and rearrange all the tracks in order to get that bass track back again! Oh the fun I have!