![]() ![]() In other words, from a process standpoint, I can see the appeal, even though there are obvious benefits to having a real guitarist, drummer, singer and so on.Īs I feel the itch increasing to mess around more with this (a couple years removed from my last wave of such activities), I find myself reflecting on some of my favorite examples.īefore we get to the list, here are the ground rules for inclusion: there have to be at least 3 instruments (voice does count as one), those instruments have to represent at least 2 distinct categories (keyboards/electronics, stringed instruments, wind instruments, percussion instruments) and the recordings have to be the work of one man or woman alone. Rest assured that I would never venture to try to make a jazz recording myself, but the semi-closeted singer-songwriter in me loves having that level of input into the product, even though the results are borne of all the things with which I have limited proficiency. Though I’m long overdue for a technology upgrade, I secretly (oops, secret revealed) love creating songs this way. At their best, though, these songs not only avoid these pitfalls but also display as close as one can reasonably get to an unfiltered view of the sounds going through that artist’s own head. Indeed, at their worst, songs recorded in this manner sound artificial, not to mention wonky due to the virtual inevitability of the artist having limited proficiency on at least one of the instruments. As my friend and colleague Dave Kopperman (himself an underappreciated master of this approach) has pointed out, there is the potential for the results to have a synthetic quality. I have long been fascinated with music that was recorded by a single person.
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