Recently, I have shown the the studio and some of our materials to a few folks, fellow thespians, musicians and other people interested in the creative process. This has caused me to think about the larger picture again. So I will give a review of where we stand with that.
Equipment
Our work on the music is on hold for a few reasons. First and most importantly, I need to finish the layout for the book production. I talk about that below. But also the computing systems, which we have been using for music production have failed. The dilemma here is that to replace the processor is not a matter of replacing the one we were using with another of the same type. That machine was a custom built G4 that cannot be replaced without rebuilding it again. Well that is simply not a good idea, since the cost does not justify that course of action and the functionality would limit us to older technology.
So the new Mac seems like it might be the right course of action. But to those of you who know about these things, we're talking about a chunk of change there. that also involves redesigning and upgrading all the operating systems and programs and adding in a learning curve as well, which makes that course of action rather prohibitive.
So upgrading in increments, the way it has always been done will likely be the approach, unless a surge of resources becomes available.
I am currently using a Quad G5 for the GFX work on the books and it is likely that I will shift that machine over to the music production, once I upgrade the PCI cards to link with our hardware and bring Digital Performer up to a newer version. I am rethinking the voice package we have been using. I'm considering switching over to Mach V from Reason, but again there is a learning curve involved there. However, I believe Mach V will interface better with DP, since they are both MOTU products.
So far I have been unable to set up the virtual instruments using Reason, but the rack in Reason is nice and easy to use. Possibly an upgraded version of Reason, but the MIDI functions in Reason don't come close to Digital Performer. The main problem with using Reason for the tone generators is that switching between programs in the middle of mixing creates problems. Mostly, doing so interferes with the process and does not allowing for smooth adjustments to be made, particularly on the fly., but also in the final mix. I have to say that once you obtain certain settings in Reason, then topping off the mix with the mixing board and meter bridge in DP works fairly well, but that's only good for the final Mastering process, not the sub-mixing. The problem I have with using two programs with mixing capabilities that is; layering plug-ins between two programs is not a good idea, or so it seems to me. That creates a situation where you loose control of the purity of your signal and it becomes confusing if you have to locate the source of artifacts which might show up. It is hard to determine if the artifacts are in the original signal or somewhere in the insert settings or even in the signal path.
Basically, unless I find out otherwise, I think the simplest approach here is to change voice programs, to one that interfaces better with Digital Performer and will continue to do so through upgrades.
So, all that being said- I feel like the entire methodology needs to be rethought in regard to the studio systems. Making changes in our working systems was a point of contention, so I deferred in that regard, but now there is no choice in the matter.
The Score
All of these facts are some of the primary factors which preventing us from moving forward to record more of the music. But in addition to these systems issues, there is scoring.
As it stands now, the score is possibly 60% printed and in various stages of being transcribed. Some of the orchestral scores have been finished, but only on those pieces which have Piano adaptations and Lead Sheets. Some of the Piano scores are adaptations and some are reductions.
Initially we started to work on Piano Reductions together, but Shawn was frustrated with working with Quickscribe and decided that he did not want to do scoring. We debated this many times to no good end. So I continued on with it, prefering to do adaptations, mostly because many orchestrations simply cannot be transcribed for piano. I also believe that since a Piano Adaptation is my interpretation of what we were working on, that an adaptation would allow me more latitude to reconstitute a workable vocal version of my melody lines and lyrics without stepping on Shawn's toes in regard to the orchestrations he was working on.
Lead Sheets
We came into disagreement about the importance of Lead Sheets. My belief was and is, that, as the producer, I need Lead Sheets (and scoring) to present the product, not only to our financial & business partners, but for the benefit of helping the singers & musicians to easily lear the material. It is my contention that I need these materials during the process, not after the entire score is fully written.
Shawn's belief was that the singers do not need Lead Sheets and should be able to sing against the orchestrations and that no work on piano reductions or scoring should take place until after the entire show is orchestrated. Sorry, I don't buy that. Every singer I know wants to hear their part on the piano.
The other factor her is that- there are seventy songs in this show and we already have spent nine years to do that. I can't wait another ten years of meandering along to see this finished and moving forward. So this was a serious rift, which more or less led us to stop working on the music. There were other issues over the operating systems and techniques of mixing/mastering the music, which put the kabosh on our progress.
Status of the Music
All the lyrics and melody lines are finished for the entire show, with about a dozen songs still needing orchestration. I have decided to stop orchestrating, until I have all the Piano Adaptations and Lead Sheets finished for the primary numbers, which is something I have to do on my own. I don't need adaptations for the bridges and instrumentals, since the Lead Sheets are only for the singers. Some of these numbers require divsi, so I'm working on that as part of the adaptation. I'm assigning instruments to the voices to define that divsi, but for the time being I am not worrying about divisi inside the parts, only between them. So the Vocal tracks are derived from the Piano Adaptation, which contains the re-constituted melody line, which seems to have been divided by orchestration. Something I have to say I did not approve of and made repeated appeals to preserve.
So as it stands, it's up to me to do Orchestral Scoring, Piano Adaptations and Lead Sheets. Needless to say Orchestral Scoring will be last on the list. My approach is to do all the rough drafts first and worry about refining them after I decide who the Maestro will be. I asked Shawn to perform that role but he does not want to do that. So I don't know how that's going to pan out, but first things first - lead sheets for the solos and the duets, trios and quartets. Much of that is done, but entering into the recording process will need to be considered in the light of how far along the other materials are developed. Mainly because once the momentum starts up, we ned to keep up with it.
Other Factors
Of course, one other major factor is funding. Our performers have to be paid. So that means significant capital influx to make that happen.
When you consider that some choral numbers have more than a dozen performers involved you can imagine the resources we will need. Certainly we will be doing the solos first, followed by duets, trios, quartets and so on.
It may very well be that continued work on the music will have to wait until the books start producing income... and that's still a ways off.
I'll address more of these issues later. AG
