It’s official… I’m releasing a second piano album this summer. As promised last week, I’m revealing the title: Out of Ashes.
When I first discussed my intentions for a second album in June, I didn’t know how I could ever again make another album as good as Airborne was. I had no title, theme, or storyline for this next album, and I was at a loss as to how to move forward without a plan.
So many artists struggle with the so-called “sophomore album.” You have your whole life to make the first album, but for the second, you maybe have two years—plus, you’re burned out from making the first album. Could I ever throw myself into a second album the way I did for my first one?
When you think about Christmas break in college, you might imagine sleeping in, spending time with family and old friends, and just doing nothing. While it’s true that I did do all of the above a little bit, for me, going home is always a time for recording and composition.
I’m excited to say that I have just been brought on as a composer by the production music library Musinc! From now on, anything I write and record, once accepted into the library, will be available for licensing for film, TV, and other media. The material from Airborne is already in the catalog. There will also be opportunities for filmmakers and music supervisors to commission me to write custom pieces.
As I was getting ready for my piano jury at the end of the semester, it became apparent to me that my Chopin nocturne was at its peak. The problem? Juries were still two weeks away. I know myself too well, and I know that when I get to a certain point, the more I practice, the worse my pieces will become. So I decided that if I ever wanted to have a recording of my nocturne, I had to do it fast. So one night, I packed up all my gear (a feat in itself) and headed to my university’s music building, hoping to somehow find an open grand piano. Continue reading “Successfully Recording an Out-of-Tune Piano without Tuning It”→
It’s been a wild ride, but my debut solo piano album Airborne is done and out!
Eleven months ago, I was inspired after returning from two GRAMMY Camps and had a bold idea: I was going to release a thirty-five minute solo piano album by the end of the following summer.
At the time, I only had one piano piece (“Airborne”) that I felt was good enough to record. I had already committed to producing an EP for singer/songwriter Lily Garay that fall, too. And there were college music school auditions in February to practice and prepare for. Suffice it to say that the prospects of releasing a full-length album were not good.Continue reading “Airborne is Out!”→
After five years of studio work, I somehow continue to hope that, maybe, my next recording session will be “normal”—no technical problems, no surprises, and no burnout. But I’ve never had a “normal” session. Apparently, in the studio, exceptions are the rule.
There are some recording sessions where whatever can go wrong, does, and none of the problems has a simple fix. Recently, I had a piano session like that–tracking my composition “Equinox.” The timing of the session was already a surprise, the setup was a monstrosity, and even the piano itself was having mechanical issues. But strangely, I walked away from the studio that night sincerely saying, “I can’t wait to do this again!” The studio is an odd place.
I know, I know––It’s been a few weeks. I’ve been in the studio a lot.
Since my music school audition is coming up, and since I’m applying as a composition major, I need to send in recordings of my work. For better or for worse, I don’t separate my work as an engineer from my work as a composer, so the recording quality, as always, is of utmost importance to me.
In my last post, I mentioned in passing that I wrote a new piano composition. Well, now I’m getting ready to take it to the studio. It’s called “Equinox,” and it’s eight minutes long, in the key of Db (also modulating to Ab and Gb/Ebm), has lots of tempo changes, uses nearly the entire keyboard, and requires all three pedals (yes, even the middle one). Recording it, to say the least, is going to be challenging.
While one might think it would be easy to record one acoustic instrument, personally, I find it much harder to do well. It’s so much more exposed; you can’t hide your problems. There’s no covering up bad edits or poor tone-quality by burying it among other tracks. With this kind of recording, you hear it all––the good and the bad.