Prepa­ra­tion Is Ev­ery­thing

Future Music - - FEATURE -

There is an en­try in Brian Eno’s di­ary (which be­came the book A Year With Swollen

Ap­pen­dices) in which he dis­cusses the vi­tal role the engi­neer Daniel Lanois plays dur­ing Eno’s record­ing ses­sions with U2. He talks about the fact that Lanois rou­tinely turned up at the stu­dio hours be­fore ses­sions started to plug guitars into chains of ef­fects for dif­fer­ent pur­poses. One gui­tar might be plugged into a char­ac­ter­is­tic ar­ray of de­lays, whereas oth­ers might be patched to trig­ger swathes of pitchshifted re­verb treat­ments. As a re­sult of this prepa­ra­tion, an as­sort­ment of in­spir­ing sounds was never far away and ei­ther the track be­ing crafted ben­e­fited from some un­usual sound treat­ments or, bet­ter still, any mo­ments of ‘cre­ative block’ were over­come by hav­ing new sounds to play with. Of course, many of the treat­ments went com­pletely un­used but the im­por­tant part is that no time was wasted while in­spi­ra­tion was flow­ing; prepa­ra­tion brought its own re­wards.

You’ll never re­gret over-pre­par­ing for ses­sions. Noth­ing curbs cre­ativ­ity like hav­ing to stop a ses­sion to plug some­thing in. Get it done in ad­vance

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