[NewMusic] Recording improv (was "Can't get enough of them

[Matt Davignon]

Ah, I'm glad the discussion led in this direction.

That is something I do all the time with my solo sets - the original
purpose was to not miss anything that sounded good. But in listening,
I've come to identify certain ruts that I tend to fall in, and work
towards not going in that direction.

Speaking of which, I'm increasingly unhappy with my minidisc recorder.
It records the audio in a proprietary format, then when I try to
upload it to my computer using the "Sonicstage" software often fails.
I'm looking to upgrade to a nice, affordable flash disc recorder. Any
suggestions? I'd like to record mostly by direct line, and prefer to
have at least 2 hours of high quality recording time before I have to
switch the memory card. The most important thing is that it saves in a
non-proprietary format so I can simply click and drag the audio files
into my computer. Does anyone have any suggestions?

Matt

On 8/22/07, grobair at emusician.com <grobair at emusician.com> wrote:
> Kristin wrote:
> <<do people ever record improv sessions during rehearsals and then actually
> goback, as a group, and talk through them?>>
>
> Yes! That's what I have my students do. Record everything, then talk about
> it at the lesson: what worked, what's not working, and where the habits are
> that you want to break through. It's extremely helpful if you feel like your
> playing needs to get to another level. Of course, the other part is having a
> "teacher" pointing out the uncomfortable parts about your playing. Someone
> being brutally honest. (My two favorite teachers were the ones that told it
> like it was....)
>
> And the recordings don't have to be high fidelity: just listen back and see
> where you were, rather than where you think you were.
>
> << i've recorded sessions with people and then for whatever reason they are
> never listened to. very rarely do we actually listen, and if so, on our own
> then come back together and talk about them.>>
>
> It's so easy to accumulate recordings these days, more so than ever. And who
> has time to go back and listen when there's so much more to do? But
> listening back to your work should be part of every musician's creative
> process, just as getting your scores played when your a composer: that way,
> you can really hear what's happening, not just what you think is happening.
>
> Speaking of endless recordings in the hopper: Radio Valencia, for example,
> used to tape every show they produced (direct to cassette using mics hanging
> from the ceiling). And thank goodness, because there IS at least a record of
> some very interesting ensembles, as well as players who we'll never get to
> hear play music again (e.g., G. Spearman). Now it's up to someone with time
> on their hands to actually listen back for the gems.
>
> Not to mention the Duff and Zelner archives. Wait...we've had this thread
> before....
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>