PERHAPS this isn't all too bad. What's wrong with revisiting a trend that was predominant in the 1950s and 1960s? Nothing, right? Well, if you still aren't clued in, singles are all the rage once again. Like how all record labels in the 1950s were rushing out to release single songs to cash in on an artiste's popularity, everyone in the new millennium is doing just that … only addressing a much larger demographic, what with the advent of the Internet and all. Back in the day, wages were lower and having music was an extravagance of sorts for most societies in any part of the world. Saving for a single might have been a matter of cents, but paying for an album could've involved dollars, and that was big money then.
Record companies were only too aware of the economic climate and the purchasing power of the listener. So artistes like Elvis Presley, Ricky Nelson and fellow rock n' rollers of that time counted on their singles to pay the rent. The situation seemed to change for the better sometime in the mid/late 1960s when artistic expression was given more freedom. The album boom was in full flight this time in the history of popular music with record labels demanding bands submit at least two albums within 12 months.
Yes, cash is tight today, too, but with the download culture in full bloom, listeners are being accorded the luxury of singles once again.
There's always the argument that if you like a song by an artiste, you have every right to just tune in to that song. Fine, right? It couldn't be simpler, after all. Why take the risk of forking out a significant more of your finances to get a collection of songs which don't guarantee artistic fulfilment or economic satisfaction?
Luckily, us music lovers can still count on a hardcore bunch who like to get to know what an artiste is all about. How could you possibly understand an artiste's craft by listening to two or three songs?
Every artiste who releases an album attempts to introduce the listening audience to the many flavours and philosophies of his/her music through a collection of songs. There'll always be the tempo changes, the varying melodic content options and differing lyrical imagery. May be that’s why artistes are going the indie route these days. At least there’s room for honest music there.
Remember the Crazy Frog single? So where’s that amphibian now? Obviously it took very little talent or artistry to rehash Harold Faltermeyer’s Beverly Hills Cop theme Axel F. If true musical ability was involved, you’d be hearing about that schmuck again, wouldn’t you? So why short-change yourself as a listener? Why deny the artiste you’re appreciation of his creativity? Seems like a moot point now when you thing about it, doesn’t it?
Close up with Roslan Aziz
1. When did you get involved in recording and where did this journey begin?
I began my audio engineering career in 1981 at Showmasters where I was a studio hand, of sorts, though that role was glamourised by my designation as part of the "technical crew". I got into recording and publishing songs at Booty Boys from 1982 to 1986. After that, I became a freelance recording and mixing engineer ... and I've done that until today.
2. Your works have all retained a high level of quality. What do your prioritise when embarking on a recording project?
The first thing I do is, do away with with negative thoughts like, "Even if I do that, it won't necessarily sell more." Commitment and dedication are imperative and work on something until you're completely satisfied. Draw up a schedule and work systematically ... don't waste time, too. Use your time and what's available to you wisely. Stop thinking about what you don't have. If you can work with limitations, imagine what you could do with everything at your
disposal. Always look to learn because knowledge is what will improve your work, and not the equipment. Start every project with the right attitude and carefully choose the studio, musicians, arrangers and equipment to aid you in your recording.
3. You've heard plenty of local recordings, including the submissions to 2crank. What is your advice to the new artistes to improve in time to come?
The general problem is a lack of knowledge and ear-training ... too easily content, basically. I also get the impression that some of productions sound naive and lacking in commitment. A good engineer or producer is like a good pilot. The more flying hours you clock, the better you'll become. In a nutshell, the more time you put into your career, the better you'll become and your hearing will mature in the process, too.
4. Who is your idol in the fields of audio engineering and album production?
Hugh Padgham, Bruce Swedien, Bob Clearmountain, George Massenburg, David Bottrill, Ken Freeman and a few more whose names escape me at the moment.
5. What advice would you give indie bands who are recording a lot of their own music?
Don't be so easily satisfied ... increase your knowledge. Don't be too proud of your work ... always compare it with the best.
6. What is your recording set-up like and what are your software choices for today?
Pro Tools; Yamaha 02R digital mixer; Genelec monitors; Yamaha/Sony DAT/CD recorders; Amek 9098; Orpheus speakers; some MACs and PCs; Lexicon reverbs; some Neve and Harrison preamps.
