#kaieckhardt

[tlmazumdar]

Rehearsing in 9: 

I remember being 16 yrs old and feeling my jaws drop watching a lecture/demo of Kai's on how you ''really need to have your 9's internalized''. Feels like a circle completed in some ways waking up to this this morning. 

[itsindabamusic]

Week 1 Collaborating with Kai Eckhardt… What Would YOU Do??? 
 


  The inspiration for a series on collaboration came from this first session with Kai Eckhardt.  Kai is an extraordinarily gifted bass player and one of the most creative people in the music business. 

      
 

However, even when you think you have a session ‘under control’ with the finest musicians on the planet you, as the producer, could be finding yourself up S**t Creek. You’ve always got to keep your mantra on: 

Anticipate Problems

Prepare Contingencies

Act Quickly

Know When to Surrender 
 

I’ll set the stage and am curious about your thoughts on handling the same situation. 
 

Kai was hired by the record label Valence Records, to remix a song from the new album called The Valence Project.  Kai was a contributor on that record and I was the producer.  Kai thought it would be fun to come to OTR Studios and work with me involved. I said, of course! 

We had the stem mixes from the sessions.  The OTR staff thought this would be an easy 5-hour session and would contribute their time. Kai allowed for 5 hours out of his schedule to complete this remix. 
 

The first idea is the hardest part when you have an empty slate.  Tempo? Song structure? Chord alterations? Etc. You try out some concepts and finally an idea clicks.  Kai experimented with the melodic bass patterns while listening to the stem mixes but decided he preferred to start with a simple rhythm track which he created on a drum machine. We suggested grabbing a few loops from the stems to enhance the drums, but Kai felt he was inspired to play the bass. 
 

He started with a “bottom’s up” approach to building his tracks – first with a synth bass, then experimenting with his fretless.  He had a concept of taking a 12 beat phrase where each track would have him perform a juxtaposed rhythm pattern. One track subdividing into 6, then 4, then 3, then 2, etc. He is incredible to listen to as he built the tracks. 
 

On the multitrack we’ve provided you can hear the parts as he laid them down called Mix #1 Major. Those tracks play together nicely in a major key and were first performed. If you import the session, you can choose various tracks on and off ideas, then add your own parts. 

We were 4 hours into the session with 1-hour left when Mix #1 Major tracks were completed. Kai had performed enough parts at this point and I suggested we grab a vocal sample from the original stems.  Then, I could feel my responsibilities to the label were met.   

Listening to the stems, Kai realized the song was in a minor key and was not happy. I thought it could be very interesting to try to remix the song in a major key! Since Kai was the artist, his decision would win.    

My assistants that day, Patrick O’Connor and Rudie, began to wonder if we would ever grab something from the stems, but smartly didn’t say anything at the session. I was wondering the same thing, so I had ‘Prepare Contingencies’ in my head. After Kai would lay down the parts, my plan was to grab the vocals and put a remix together. 
 

It was Kai’s choice to lay down new tracks with one hour left. He wanted to lay down a whole new set of bass parts in a minor key to more resemble the song to be remixed. We were recording to 2″ tape, as I like to do (it sounds INCREDIBLE, as you know). We began to run into time issues and the session would go over the limit soon.   
 

Kai’s parts kept getting better and more interesting. It would be like stopping a great singer and shutting down the power before a great gig ended if we stopped now. Kai wanted to continue, so what could I do? We continued.   

Fortunately, 24 tracks tape has its own limitations or we may have been there all night. Kai played his last track to complete the set and I told him I’d figure out a way to turn this into a remix, even though we hadn’t used one part from the stems. The next set of track for you to check out is called Mix #1 Minor. Check out this tracks as you did with Mix #1 Major and see what you come up with. 
 

We were now at the end of a very long day. My assistants were tired and it was late. We decided we’d come and work out the remix issues on this another day when we’re fresh. Kai went home feeling good. He played some wonderful music in those hours. 
 

When Kai left, Patrick and Rudie asked me how I was going to add the stems to these tracks and create the remix. This would require redigitizing and at least another day of work…. time we didn’t have and more painful with no budget.

Kai was paid, but I didn’t have a remix to present to Valence Records.  I knew I had to talk to the head of the label in the morning and had to come up with a plan. So…. 

What would YOU do?   

A.  Cry to the label that they just spend money for something that was not complete? 

B.  Stop Kai in his creative process half way through the session and question what he was doing which also puts a BIG cramp on the vibe, creativity and future relationship? 

C. Take it in the gut and just put the time in to do the remix? 

D. Or come up with a solution that is win win win? 
 

I’ve done all of the above and always look to Solution D first and settle with C, if I have to.

When you’re looking for a win win win, it’s best to take a break and sleep on any decisions before you have to make that call to the label.  Have the solution BEFORE you make the call or be prepared for your reputation to sink to the bottom of the sea. Aspiring engineers and producers take note… if you want to get into the music business; it’s less about knowing all the gear and much more about solving problems. 
 

In Part 2, I’ll let you know what happened.  Meanwhile, take your best guesses with

Mix #1 Major

Mix #1 Minor

and let me know what you would have done.  Free to grab a few loops or do your own remix with these tracks. The files are 44.1/16 and should sound incredible.   

One note, Kai’s tracks are for personal use only.  If you do end up with a hit on your hands, and want to use his name, please contact me directly. I’m sure you can write an album based on these tracks alone. Hmmmm, not a bad idea.   

I’m curious if anyone else has found themselves in a similar situation.  Tell us your horror story in a comment below. 
 

If you want to know more about Kai, OTR Studios, The Valence Project, Valence Records, me, or the others mentioned in my series, go to: Marenco Media and click on the information you need.   

Thanks for reading the blog, and remember…

Experience is everything. 

Back soon! 

Cookie

Definitions


* stem mix — when a final mix is complete, we often create stem mixes meaning, adding a pop tone to the front of the multitrack and laying back parts or stems of stereo events with efx. For instance, all drum parts in stereo with efx and volume changes, all bass parts, all background vocals, etc. You can get as detailed as you need. Stem mixes allow you to make quick changes to a final mix by lining up all the tracks with the pop tone and making alterations as needed.

[itsindabamusic]

Greetings Indaba Music

Originally posted on April 26, 2010

Welcome Indaba members!  During the next 8 weeks I will take you on an adventure I call “The Art of Collaboration”. Writing a song with someone else is very different experience from composing alone in your room. Not always easy, either, even after MANY years. There’s always something new to discover!

Each week I’ll have a guest artist featured to lay down parts, cut up sounds, or write lyrics right up to the mix. We’re not holding anything back.. highs, lows, wateva’s and WTF’s! 

We’ll post the multitracks from what we recorded that day—every triumph and embarrassing moment- along with videos or photos of the sessions.  You’ll be able to create your own remix of the tracks and sent them in for us to hear.  We’re waiting to surprise you with what we come up with.  I know I was surprised!

Week One starts with Kai Eckhardt, electric bassist extraordinaire.  He tours the world with the likes of Garaj Mahal, Billy Cobham, and many other bands.  The following weeks we’ll have Brain (drummer from Guns N Roses, Primus, Buckethead, and Tom Waits to name a few), Melissa Reese (vocalist, lyricist and composer), Gregory James (guitarist) and my crew from OTR.  For more information on everyone, click here.

Sharing the creative process with another person (or five) requires patience and the ability to listen.  Not just to musical parts, but to ideas and feelings.  If you want to get something done, you learn to let go.  Let go of your ego and be flexible to change.

I want to thank the folks at Indaba for creating such a wonderful meeting place for people of all ages and interests to exchange ideas and work together.   If you’d like to know more about my sordid past as an engineer, producer and composer, please visit my websites and have a look.

Don’t just read, DO!  Experience is everything.

Back soon!

Cookie Marenco