How to prepare before a recording session?

[nodb]

Even when I play a piece for a LONG time, I always played a wrong note(s) on recordings.
I refuse to editing it.
I think that stress isn't the factor.
How do recording artists prepare himself before a recording-session?
Can anyone give me a practice-method? Thanks

[Bob]

Practice performing.

Aim for getting it the first take.  And give yourself a limit on the number of takes you do.  Say three tries.  If it doesn't happen in three tries, it's not going to happen.

Don't expect perfection.  Unless you've practiced it that way.

If you're recording yourself, have all the recording stuff taken care well in advance. Don't let any of that get in the way of the performance.

[prongated]

I don't believe recording artists prepare themselves for recordings differently than they do for concerts. For the record, they edit their recordings.

I agree with Bob. What pieces are you trying to record? And how do you practise? Are you able to give a note-perfect live performance? If not, then perhaps you may want to address your practice methods - I'm sure this has been discussed many times before in this forum - although it may not be the only reason why it's not coming along.

[birba]

What's important is to be able to play the piece or movement from beginning to end with the same intention and EXACT same speed, four or five times in a row.   Wrong notes might occur - I always have them - BUT they never occur in the same place.  Thus: editing, which these days is a pure miracle.  If I were someone famous, I would be PROUD of the wrong notes in my performance!

[Bob]

The thing I've found with recording is the temptation to do it over again.  Because you can.  And why not?  Except you can keep doing that over and over. 

The one nice thing is that you can really go for it.  There's no reason to hold back.  If thing go bad, oh well... (You can always do it over again).  But if things do go really well, you've got that captured.

You could schedule a second recording session.  That way the first will burn things in.  Then come back and have more stability with the second session.  As long as it doesn't get dull.

I don't see anything wrong with going for perfection. (depending on how much time you want to devote to that)  But if you don't practice is without those little errors, I would expect them to be there during the recording performance.  Sometimes you can get "tunnel vision" ears or suddenly have "super ears" (hear every little mistake) too during a performance.

Things can sound different after the recording.  I remember having super ears for one piece and later on, any of the takes sounded ok.  (or maybe I lost some hearing ability...)  I do think there is some leeway, some sloppiness, that's ok in playing.  If it's too clean, it could sound like a machine.  Although perfect technique can sound nice too.  But there is an area between perfect technique and machine playing that starts to sound the same.

[nodb]

Thank you all for the good advice.
I don't want to focus on note-perfection while performing on stage. But...on a recording I cannot accept. When you listen it twice, it's frustrating.
I don't understand that some pianist can record live performances without wrong notes.
(Of course is there a certain talent.)
The only way to perfection is slow practise? How slow is slow?

[prongated]

I don't understand that some pianist can record live performances without wrong notes.
(Of course is there a certain talent.)

A certain talent...and a tonne of hard work that's for sure.

You are absolutely right - when performing or recording, one's focus is always the music and not the right notes.

Slow practise is one aspect of it. How you practise slow is also important - for instance, calibrating your hand position, fingers etc. as the music demands, keeping your mind on the sound...and this is assuming you are executing the piece with the appropriate technical approach.

As regards the recording itself, what I find most helpful is to not cram the recording session with too many pieces. You want to pace yourself so that in the 2 hours or so that you set aside for recording, you have enough time for little breaks and getting a few takes in.

[jbmorel78]

Not having read any of the above posts except for the original, sorry if I double anything someone else said, but:

Don't think about accuracy.  The second you think about trying not to miss notes, you will miss them.  I believe it has to do with mental freedom, and having meaning in every note (inner, personal meaning, not some definitive general one).

The practice room is where we solidify gestures and make sure that are movements do not create wrong notes.  Make sure when you practice also that you are consistent in your choice of fingering. 

When you perform/record, don't worry about playing the right or wrong notes, just play music! 

[pianist7]

I wouldn't be so opposed to editing wrong notes, I mean, it's still what you want from your interpretation, right?

[richard black]

Having worked as a recording engineer, producer, editor etc. etc., I can tell you that just about everyone relies heavily on editing, even on 'live' recordings. A noted pianist of my acquaintance, for instance, recorded a 'live' CD at a concert which was liberally patched with takes from his or her earlier rehearsal in the venue, plus at least an hour of patch takes made directly after the concert.

I'm not sure this is entirely healthy, frankly, nor necessary, but it's what happens in most cases.

[Bob]

Sounds unethical.  I wish they wouldn't do that or be more upfront about it.  It's really going in two different directions to do a performance and a CD though. 

[richard black]

On the one hand, it's easy to see where Bob is coming from describing heavy editing of recordings as 'unethical'. On the other hand, what matters is the end result - a CD (or download or whatever) which will give a worthwhile, fulfilling, emotional experience to the listener: so what does it matter how it was recorded?

The real problem is that we're so used to recordings that over the last century they have significantly reshaped our expectations of live performance. We can't put the genie back into the bottle, though.

All that said, my main objection to heavy editing is that it almost never turns a poor performance into a good one, so frankly why bother? I've put out plenty of recordings with wrong notes in and practically no one ever seems to notice if the performance is basically good.

[slow_concert_pianist]

I used to make huge pauses in the most unexpected of places when I first started recording my performances. I believe you will always be "self conscious" when you record, but gradually I am trying to channel that energy in positive ways. In the greater state of consciousness, I should be able to express myself better. Shame it hasn't worked in practice yet

[pianisten1989]

I used to make huge pauses in the most unexpected of places when I first started recording my performances.

And now it sounds so much better!

I believe you will always be "self conscious" when you record, but gradually I am trying to channel that energy in positive ways.

And how do you think that is working out for you?

In the greater state of consciousness, I should be able to express myself better. Shame it hasn't worked in practice yet

Oh, you're so funny! tihi

[pianoladywong]

The key is to be extremely prepared and well rehearsed before you head into the recording studio. It helps if you memorized the piece and able to pick it up from any measures and continue playing. During the recording, stay relaxed and do not worry about playing the wrong notes or not executing up to your expectation. Just play it the way you did when you were practicing.

Sometimes, it is more important to capture a great performance than a great technical exhibition.
Editing is not always a bad thing. Many professionals also rely on the editing skills of sound engineer.  I personally think that it’s ok to do some minor editing if you captured a great performance.

[rachfan]

Hi nodb

First, I should say that I do "room recordings" at home, not at a professional recording studio.

You think like me in that I too positively refuse to edit my recordings!  If there is a wrong note in there, so be it.  I want my recordings to be 100% authentic, and I think my Audition Room audience here prefers and expects that as well.  

There is a stark difference between the two processes of performing and recording.  In performing, at the outset we experience to varying degrees a sense of stage fright.  Once we start to play, and as the performance progresses, we increasingly gain confidence in front of our live audience.

In recording, the process works in reverse.  We approach recording with a sense of high confidence; however, as we make some unexpected errors along the way, our confidence slowly erodes.  And as the number of takes increases, confidence is eventually replaced by frustration.  I think for most of us, it's the rare exception that we get a fine recording on the very first take.

From my own recording experience, I don't believe there is a way to prepare other than perhaps playing a couple of scales beforehand to renew dexterity and evenness.  If there is a "hard nut to crack" in the piece such as a particular short cadenza, a double notes figure, a co-habitating of the hands requiring choreography, do a few careful trials first to ensure they are fully playable and solidly in place.  Before turning on the recorder, especially review in your mind exactly how the opening is to be played and how it should sound.  Play just the first few measures two or three times to refresh it in your mind and fingers. This is important, because the better the opening, the better the probability of attaining a good recording of the entire piece.  

That notwithstanding, some sessions turn out to be grueling--period.  We've all fought our way through those!  Anticipate that possibility and decide beforehand a reasonable number of takes. Once you reach that number, and if no real progress, stop, as the session will clearly not be productive.  It most likely indicates that the piece needs more work before attempting another recording session.  Cutting it off then and there avoids more needless frustration.  

Whenever I have a disappointing recording session, I listen carefully to all the outtakes. Then I eliminate those takes that obviously don't make the grade until only the least of the evils is still standing. I listen to it again noting the needed improvements.  That one recording is the only one I leave on the recorder temporarily.  It later serves as the benchmark to be beaten at the next recording session, and once that happens, it too is deleted in favor of the new completely acceptable recording, and hopefully the final one.

The fact is, sitting in front of two exacting stereo microphones is no less difficult in its own way than playing in a recital.

[doctor_ivory]

Perhaps Glenn Gould can shed some light on your problem . . .

&feature=related

Also, if you get in the habit of constantly recording yourself you will eventually habituate to the process of being recorded.

[birba]

Hi nodb

First, I should say that I do "room recordings" at home, not at a professional recording studio.

You think like me in that I too positively refuse to edit my recordings!  If there is a wrong note in there, so be it.  I want my recordings to be 100% authentic, and I think my Audition Room audience here prefers and expects that as well.  

There is a stark difference between the two processes of performing and recording.  In performing, at the outset we experience to varying degrees a sense of stage fright.  Once we start to play, and as the performance progresses, we increasingly gain confidence in front of our live audience.

In recording, the process works in reverse.  We approach recording with a sense of high confidence; however, as we make some unexpected errors along the way, our confidence slowly erodes.  And as the number of takes increases, confidence is eventually replaced by frustration.  I think for most of us, it's the rare exception that we get a fine recording on the very first take.

From my own recording experience, I don't believe there is a way to prepare other than perhaps playing a couple of scales beforehand to renew dexterity and evenness.  If there is a "hard nut to crack" in the piece such as a particular short cadenza, a double notes figure, a co-habitating of the hands requiring choreography, do a few careful trials first to ensure they are fully playable and solidly in place.  Before turning on the recorder, especially review in your mind exactly how the opening is to be played and how it should sound.  Play just the first few measures two or three times to refresh it in your mind and fingers. This is important, because the better the opening, the better the probability of attaining a good recording of the entire piece.  

That notwithstanding, some sessions turn out to be grueling--period.  We've all fought our way through those!  Anticipate that possibility and decide beforehand a reasonable number of takes. Once you reach that number, and if no real progress, stop, as the session will clearly not be productive.  It most likely indicates that the piece needs more work before attempting another recording session.  Cutting it off then and there avoids more needless frustration.  

Whenever I have a disappointing recording session, I listen carefully to all the outtakes. Then I eliminate those takes that obviously don't make the grade until only the least of the evils is still standing. I listen to it again noting the needed improvements.  That one recording is the only one I leave on the recorder temporarily.  It later serves as the benchmark to be beaten at the next recording session, and once that happens, it too is deleted in favor of the new completely acceptable recording, and hopefully the final one.

The fact is, sitting in front of two exacting stereo microphones is no less difficult in its own way than playing in a recital.

Couldn't have been said better.  You really hit it on the mark.  As far as your last statement goes, I would say, for me, at least, it is much much more difficult..

[chris_goslow]

Perhaps Glenn Gould can shed some light on your problem . . .

&feature=related

Also, if you get in the habit of constantly recording yourself you will eventually habituate to the process of being recorded.

Thanks for the Glenn Gould links.  They're awesome.

[rachfan]

Thanks, birba.  Yes, I must admit, there are times that recording is more difficult than performing.  This is probably because we realize that a performance is fleeting, but a recording is permanent.  That alone adds to the pressure.