Re-Inventing My Creative Workflow
September 15, 2010
As I have been attempting to light the engines of my musical being, with the objective of creating (more like releasing many years of musical ideas, concepts, etc…stored away in my internal attic), I have found that my biggest obstacle has been finding the right workflow for me. The technologies, tools and techniques have changed so drastically since I last attempted to lay anything down to tape (case in point…”tape”) that the fact that I date myself in saying that pretty much says it all…I need to re-invent and re-learn how to materialize that which I am looking to express.
Indeed, I have in many respects become a novice in this space while at the same time carrying with me the experience I do have and the instinct I have carried through my life and at the core of my being as a musical person. Knowing that I am in this particular place, I have been struggling with my own shortcomings as one who has gone into the proverbial weeds looking for the most efficient way to accomplish the tasks of musical creation, yet emerging with a ball of complexity that has consistently paralyzed my efforts and ultimately, albeit temporarily, stifling any spontenaity—and creativity—that I had when I started.
What I have discovered is that I need to keep it simple and use the tools that I have. When I look at my current arsenal, I see that I have more than enough tools for the job and that I need to create a workflow that will promote creativity and support spontenaity. This is not a technological barrier, rather a mental one.
As I have been mentally, even prayerfully, preparing for this “re-emergence” into my own, I started work on the first cut this morning. I was almost shocked to see that the tools I have had for some time, and being software based are up to date, allowed me to lay down and arrange the first layer of “flooring” for this tune in about 30 minutes. This has completely fueled my excitement and resolve to do this in a way I have not experienced in, well, years! I still have a learning curve ahead of me as I start to wrap my head around and learn these software packages that I have had (beyond hitting the record button…), but I can clearly see now that my initial goal of 1 song a month is very attainable. Additionally, the tools today not only remove the technological obsticles, but also provide creative tools to release the ideas and relieve the creative pressure built up inside.
So, what is this workflow, you ask? Well, at this point I have 2 phases that I am initially implementing (that is the software developer/designer in me talking…); the first is to simply get the concepts into a “tangible” form, and by that I mean on tape, er, disk. To do this I am using Sanoma WireWorks’ RiffWorks. What this allows me to do is lay down the ideas modularly and assemble them along a timeline to essentially create a musical wireframe upon which the details of the song can be built. This tool allows me to work on 4, 8, 16—any number of bars at a time in a looping manner, layering ideas or simply layering several takes of the same idea until I have something that clicks. The flexibility of RiffWorks allows me to create today’s equivillent of a “demo”, or pre-production tracks.
Once I have the tune laid out in RiffWorks, I can then export the tracks to Sony Acid Pro 7, my DAW of choice. From here I can get to work on the tracks that will eventually end up in the final product. Acid is a an animal that I have barely touched as far as its far reaching capabilities are concerned. There will be much more in the future about my experiences with this package as things progress.
Another technology, which I have been using for close to 10 years, is digital modelling of amplifiers, signal processing and even my instrument. I am a very loyal, hard-core Line6 user and have implemented my entire gear chain using this technology. This allows me to have a seemingly unlimited arsenal of amplifiers, speaker cabinets, “pedals”, gutiars, microphones, etc…that I can carry with me in one hand and on my back. I have used this configuration during these years gigging with Sokmonkey and have been able to crush the tone every time. In fact, everyone except the drummer in the band uses Line6 for their backline, giving us complete control and quality of sound without the quantity of gear. This, combined with in-ear monitors, is a perfect example of how technology has allowed us to exponentially change our workflow by providing superior sound quality that only takes roughly 20 minutes to set up on gig nights, letting us focus our creative (not to mention physical) energies on actually creating music, and that almost effortlessly. At the end of the day, we all do this out of passion and the pure enjoyment and satisfaction of creating, performing or recording music, and today these workflows, when thought out creatively, have transformed the platforms available to practice this craft.
So, in the same way that we designed the workflow for Sokmonkey, which worked well beyond our imaginations when we set out to implement it, I am setting out to create—to reinvent—my workflow for the studio. If this morning is any indication, this surely has the potential to be everything I hope it will be, and more.
//T








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