#Soundresearch No. 05 -ONE MIC Žiga Rustja: “Kralj zelenega peresa”
- Gaber Radojevic
- May 14, 2024
- 5 min read
#Soundresearch No. 05 -ONE MIC Žiga Rustja: “Kralj zelenega peresa”
Spodaj tudi v Slovenščini.
Each #Soundresearch is its own story. On every adventure you encounter various challenges, not just the ones regarding sound - organizational, emotional, psychological. Slowly you get to know more and more about this way of working and quickly find out what is going to work on one mic and what not. What you learned on previous #Soundresearches is the springboard for the next session.
One of the main themes of each session is definitely playing suitably in regard to the space you’re in and the colleagues you’re with. There were many delicate moments when people began to experience fear, especially those that played loud instruments. But luckily, the microphone is the judge. I am just an observer. The point isn’t a contest between my and their experiences, but the outcome of recording on one microphone. And precisely because there is no fight over who’s right, just the result, it helps people to channel panic or anger towards creativity. We practice techniques for years and years, but in such situations we can see how powerful our bodies are in how quickly we learn and seek solutions. Every person who wanted to adapt to the situation and learn something new, had in minutes worked out a suitable technique, so that they could help themselves, their colleagues and the space around them to sound good. All this means is that when we are put in an unpleasant situation, we have lots of chances for improvement.
One microphone is the sign of cooperation, connection, giving way and being aware of the work you’re doing. It’s a strong mirror, reflecting what and who we are and how we take care of ourselves and those around us. For instance: if we’re prone to taking no notice of what our acts do to others, it will show on the recordings - we will hear only ourselves, while not giving others a chance or helping them. The same goes for those who help others too much and thus suppress themselves. Such people can be heard on recordings as retreating the whole time and putting the responsibilities on other musicians. I can remember how in the session with Žiga and Luka, I sensed how differently the former played the guitar. I was sure that he would, as most people, play loudly, which would cause problems during the recording, because there would be too much guitar and too little vocals.
But that wasn’t the case. Thinking something about someone leads nowhere. Accepting diversity and indifference leads in time to new situations, comprehension and acceptance of people such as they are. This is also the moment when our expectations begin to manifest. Being able to switch them with acceptance of tastes, ideas and creations would be amazing.
A good example of the element of space shown in the video, is the relationship between the dryness of the vocals, the partly resonating acoustic and the very “roomy” electric guitar. On such recordings we are able to see what it is we like or find out how, by working with one microphone, healthy and naturally the composition mix sounds and how the reverb works. The deconstruction of the recording on one microphone is, in my opinion, key in making music mixes.
For all the non-technical people: you will in time see on the recordings that everyone has a pristine energy. With time you will perfect the feeling about which take fills your heart and which doesn’t. This will further help greatly with setting up your own personal taste based on mindfulness.
Usually, the first take wins.
To be continued…
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#Soundresearch št. 05 - Žiga Rustja: “Kralj zelenega peresa”
Vsak Soundresearch je zgodba zase. V vsaki pustolovščini se spopadeš ne samo z zvočnimi, ampak tudi drugimi izzivi - od organizacijskih, čustvenih, do psiholoških. Počasi začneš spoznavati način dela in zelo hitro vidiš kaj bo delalo na en mikrofon in kaj ne. Tako, da je predstavitev izvajalcem tega, kar si na prejšnjih #SRjih odkril, odskočna deska za naslednji session.
Zagotovo je ena izmed glavnih tem vseh sessionov primerno glasno igranje glede na prostor in glede na spoštovanje do soigralca. V teh primerih je bilo dosti kočljivih momentov, ki so iz ljudi izvabili strah, še posebej tisti, ki imajo glasne ištrumente. Vendarle je na srečo sodnik MIKROFON. Tu se ne gre za moje izkušnje proti njihovim, ampak kar pride ven z enim mikrofonom. Sodnik je on. Jaz sem v teh igrah samo opazovalec. Ravno zato, ker ni osebnega dvoboja kdo ima prav, ampak le rezultat, tisto kar pride ven, pomaga paniki ali jezi, da nima kam iti in jo potem vsak preusmeri v krativen pristop. Ljudje vadimo tehnike leta in leta, a v taki dani situaciji lahko opazimo kako mogočno je naše telo in kako hitro iščemo rešitve in se učimo. Vsak, ki se je želel prilagoditi situaciji in se naučiti nekaj novega, je v nekaj minutah razdelal primerno tehniko, da je lahko pomagal sebi, soigralcem in prostoru, da zaveni lepo. Kar pomeni, da ljudje, ko smo v nelagodni poziciji, imamo zelo veliko možnosti za napredovanje.
En mikrofon je znak sodelovanja, povezovanja, dajanja prednosti, zavedanju kaj se dela. Močno ogledalo kaj in kdo smo ter kako skrbimo zase in za ostale okoli nas. Recimo, če smo podvrženi temu, da ne opazimo kaj naša dejanja delajo ostalim, se to na posnetkih pozna tako, da se sliši nas in da drugim ne damo možnosti in jim niti ne pomagamo. Enako se pozna pri ljudeh, ki dajo pretirano pomoč drugim in s tem zatrejo sebe. Pri takih se na posnetku zgodi, da se cel čas odmikajo in s tem dajejo celo odgovornost na drugega izvajalca. Na sessionu z Žigo in Luko se spomnim, kako sem zanznal kako drugače Žiga igra kitaro. Prepričan sem bil, da bo tudi on, tako kot večina, zelo glasno igral kitaro, kar bi naredilo težavo pri snemanju, saj bi bilo preveč kitare in premalo vokala.
A ni bilo tako. Misliti nekaj o nekomu ne pelje čisto nikamor. Sprejemanje raznolikosti in indiferentnosti s časom vodi v dojemanje oz. sprejemanje ljudi takšnih kot so in spoznavanje novih situacij. Tu se začnejo tudi izkazovati pričakovanja - super je, če jih uspemo zamenjati s sprejemanjem njihovih okusov in njihovih idej ter stvorjenj.
Lep primer v videu glede prostora je razmerje med suhostjo vokala, delno odmevajočo akustiko in zelo “roomy” električno kitaro. V takih posnetkih lahko opažamo kaj nam ni všeč ali pa ugotovimo, da nam delo z enim mikrofonom pokaže kako zelo zdravo in naravno zveni kompozicija mix in kako deluje reverb. Dekonstrukicja posnetka na en mikrofon, je za moje pojme ključnega pomena kako izdelovati glasbene mixe.
Za ne-tehnične ljudi: s časom boste na posnetkih začeli opažati, da imajo vsi pristno energijo. S časom se ti izpopolni občutek, kateri “tejk” ti polne srce in kateri ne. To v nadaljevanju zelo pomaga pri postavljanju osebnega okusa, kaj ja in kaj ne, vse glede na čuječnost.
Ponavadi, pa vedno zmaga prvi “tejk”.
Se nadaljuje…
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