How Would You Guys Approach a Recording Like This?

Chris Schlotzhauer · From: Colleyville, Tx. USA

This friend of mine sent be a couple of songs to put steel on. I have everything uploaded and ready to start tracking. I've been listening down on these for a while and have some ideas about what to play.
First let me say, these songs are great, well written, performed and sung.
The wavs are rough mix stereo tracks with guitar, fiddle, acoustic, bass and drums. I've done this many times, and in the past I've given "holes" to play my parts (intro, fills, solo). This pretty much a steady stream of playing by all instruments. They are not walking all over each other, but Intro, fills and solos are well covered by all instruments. These are not hard core country they are more alt country.
My question is, should I call the guy and ask him where he wants me to play, and try to just hit those spots, or tell him, because I have no holes, that I will give him tracks that are a steady stream of my playing, start to finish, and he can cut, paste and use what ever parts anywhere he wishes.
I want to do a good job because this guy gets a lot of airplay and he is a friend.

Bill Ford · From: Graniteville SC Aiken

Give him a steady stream, and let him edit what he wants. Also explain why..

BF
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Tony Prior · From: Charlotte NC

Hey Chris , this is a very good question. I have been doing some E tracking and it is best to ask as it is near impossible to fill where there are no holes.

I feel you will be doing him a great service and at the same time representing yourself professionally , as the track will be just way busy.

I am working with a client now where he sends me tracks with just Drums, Bass, AC guitars and scratch vocals. We talk about what and where he wants fills and I leave all sorts of room for him. We talk thru the chart before I begin.

Now if your friend just says play underneath it all, then of course simple pads and glisses fill the need, don't push the licks,just forget about them.

I have done maybe half a dozen tracks exactly like this , I thought they were blah, the clients loved them!

go figure

t
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John Lacey · From: Black Diamond, Alberta, Canada

Chris, it's been my experience in these distance recordings to communicate well with the client as they don't have the advantage of being over your shoulder (sometimes a disadvantage). Playing a lot over everything but leaving some nice editing holes would definetly be an option I get a lot. It's not the most musical thing to perform, but functions as a wide pallette for the editors to work with.

Joe Savage · From: St. Paul, MN

Are there any lines you could harmonize? That has worked for me in the past.

Ask what his vision is for the tune. Maybe he could send another mix.
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Larry Bell · From: Englewood, Florida

I'll bet that what they're really looking for is the SOUND of the steel guitar. I've run into that myself from time to time. I'd try some chord pads that 'shine through' and maybe a traditional lick thrown in sparsely. Just to get the sound of the steel into the track. I don't think they're looking for hot lix.

But then . . . you have more experience than most of us -- why are WE giving YOU advice? Some of the alt stuff you've done (along with Scott Walls and others) with the Derailers is legendary.

Whoa!

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Chris Schlotzhauer · From: Colleyville, Tx. USA

I have listened more and found a few places to harmonize with the guitar. I might run a couple then send a sample to him just to get his reaction.

John Macy · From: Rockport TX/Denver CO

We use Skype a lot at the studio here--pop open a laptop and the client can sit in on the session...works great...
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Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

I have to deal with this pretty frequently, and it is sometimes puzzling to know what to do.

Harmonizing lines is a good idea. So is doing unobtrusive pads that somehow make the presence of the steel felt. In addition, I can sometimes find one or more small holes to make a statement. But I sometimes have misgivings about the latter, since I like to hear space in music and don't like to be the one to close the last small hole.

Another approach - if the guitar player isn't doing it already - is to try to act more like a guitar and play a more staccato guitar-like figure that blends - say like the guitar figure in The Temptations' "My Girl" as an example. It's funny - almost no matter how dense the mix, it's pretty straightforward to blend in guitar this way, but traditional steel does seem to want significantly more space.

I'd probably try a mix of the above as 'suggestions' and then talk about what is really desired, using those as talking points.

For the record Chris - I agree with Larry, your playing with the Derailers has undoubtedly influenced many of us.

Jerry Hayes · From: Virginia Beach, Va.

Another thing you could do is stay out of the same register as the guitarist. If he's on the low strings, play up the neck and vice versa. It'd help separate the instruments a little more!....JH in Va.
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