Hi Ellen!
You are a Dedicated Champion for sure. Back when I was the Chief Engineer at Sunwest Recording Studios (at Sunset & Western in Hollywood) upon meeting you, I would hire you immediately. You have that very rare combination of intellect, drive and helpfulness.
Your idea is well taken and brilliant. If I had a two input interface I would work until I realized your idea. I am, however, a “throwback” to an earlier time in sound engineering history—a time exemplified by Phil Specter (before his crime spree). He would fill a big recording studio with ALL the musicians to complete the entire orchestration for a record, right down to the tambourine and castanet players. He would drive the music executives crazy because, with all those expensive strings, horns, percussion, rhythm section players, singers and the primary artist waiting (and being paid) he would go out in the studio to work on the sound of the tambourine. He would come back to his control room chair, use the talkback and say, “OK. Let’s try one.” The two track would be put into record. All the musicians and the nervous sound engineer would get it just right. Phil would jump up and say, “That was great; thank you!” and walk out. Job done. Record finished.
The (now nearly obscure) point I’m trying to get to is that in the old way of doing things in the studio, players would be able to hear all the other musical parts because all the players were present. They would play WITH each other instead of (like today) playing all by themselves as one track is added at a time.
Right now, with eight audio inputs, I can record drums, bass, keyboards, guitars and singers all at the same time and all on separate “tracks” in Cubase. This leaves only “sweetening” (strings, horns) to be added to finish the song.
In my peculiar way of working by myself, I must IMAGINE the other parts already playing along with me while I’m recording one of them. Then, all I have to do is record all the remaining parts from my imagination into Cubase.
In the really really old days, all the composers had was blank orchestral score paper and a pen. They could hear every part played by every player in an entire orchestra and choir as they worked to write down all the notes for each performer to play or sing. In the movie Amadeus, a demonstration of this extraordinary skill is portrayed.
I have really really good luck. Part of my luck was being invited into the rock band Spirit and jumping from being a Chief Engineer to becoming a “rock star” bass player and vocalist in one evening. Part of my good luck was receiving help from YOU. Thank you for helping me through this exploration.
Sherman
