WORKING WITH REFERENCES
Visit a prestigious museum and there is a chance you will find art students copying pieces of artwork on display onto their sketch pads. It is not difficult for an observer to deduce the benefits of such activity, as a critical comparison to an unchanging frame of reference is a reliable way to measure the development of one’s technique.
In sound engineering it is not unusual for students to underestimate the importance of referencing, when such a simple activity can do much more for an aspiring engineer than the opinion of peers, teachers, etc. The following suggested exercise is based on the assessment of ‘original’ vs. ‘emulation’ sounds and may help recordists develop their technique:
Referencing Exercise:
• Choose an instrument, e.g. the acoustic guitar.
• Choose a well-established production as a reference, e.g. Paul McCartney’s Jenny Wren.
• Try to recreate the chosen guitar sound (not necessarily using the same song).
• Compare your recording with the reference.
• Establish possible changes in recording technique that may make the two recordings closer in sound, e.g. the use of an alternative microphone, different placement, etc.
• Apply the changes, record and reference again.
A precise match with the reference is not essential (or desired) here, as the benefits of this exercise should derive from the process itself, i.e. this activity should help recordists develop the ability to react to inadequate results through sensible changes in approach or technique.
Extensive referencing may ultimately lead engineers to devise strategies to achieve the sounds they ‘hear’ in their minds, an invaluable skill in music production.
The following are a few last thoughts on referencing:
• Referencing does not necessarily lead to the production of overly derivative art.
• The combination of multiple influences may lead to the creation of innovative music.
• An influence may be something one chooses to follow, or something one is aware of, choosing to break away from it.