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Detecting Click Tracks
jamie found a blog entry by Paul Lamere, working for audio company Echo Nest, in which he experiments with detecting which songs use a click track. Lamere gives this background: "Sometime in the last 10 or 20 years, rock drumming has changed. Many drummers will now don headphones in the studio (and sometimes even for live performances) and synchronize their playing to an electronic metronome — the click track. ...some say that songs recorded against a click track sound sterile, that the missing tempo deviations added life to a song." Lamere's experiments can't be called "scientific," but he does manage to tease out some interesting conclusions about songs and artists past and present using Echo Nest's developer API.
If I were to record garage rock album i would throw everyone in the same room and just play the songs. However to leverage much of the flexibility and power of a digital recording you need a click.
I record garage bands. You don't need a click track for multi-track recording. Take a demo tape and use it to get the drummer to play his track. Use the drummer as the click track for the rest of the sessions. A click track is not needed for multi-track digital recording. I add the wet tracks last after recording all the dry tracks for final mixdown.
The only click track used for this is just a tempo 1 measure lead in to get the drummer started on a new tempo.
The truth shall set you free!
I'll have to respectfully disagree. The only reason most bands use a click track is if your drummer can't hold a tempo. There's nothing about digital recording that requires a click track, as evidenced by the enormous number of bands that popularized click tracks in the 70s and 80s.
All a click track does is remove the need for band to practice with metronomes, which unfortunately is one of the most important thing that any musician can do to improve their playing.
I'll admit, there is a case where using a click track is important, and that's if you have a sampler synchronized to it to play pre-recorded material that has to line up. You could consider this a form of 'multitrack syncing', if that's what you were referring to. This is quite common in live pop and hip hop concerts. Even more distressing is the number of 'live' acts where everything is prerecorded except for the vocals.
I also forgot one other reason click tracks are popular in today's live pop and hip-hop concerts. Turns out it screws up the choreography if you have even minor tempo fluctuations. A slight shift in tempo can make already difficult dance moves even more so.
I'm an experienced drummer and I play regularly with, and without, click tracks; I can tell you that the assumption that "feel" or "groove" is only present when a drummer's time varies is not accurate.
... I'm tempted to have a play with it.
There are at least two types of variation that matter in a drummer's performance: the overall sense of time and the moment by moment variations. The ability of a drummer to play a complete number and keep to a set tempo is really important, particularly in this day and age of digital editing. But it is a common feature of "click track performances" for the drummer to sway ahead of and fall behind of the beat (faster and slower). If done correctly this variance in tempo will add significant life to a performance and such a skill takes a lot of practice to perfect.
The subtle qualities of a drummer's performance go far beyond whether or not they stick to a given tempo for the duration of a number; this is just one variable that effects the quality of a performance. Some genres require a rigid sense (metal/electronica) of time whilst others benefit greatly from its absence (fusion/jazz).
Interesting software however
I play keyboards for two different worship bands at my church, and I discovered a pretty amazing trait that our drummer/leader in the morning service has:
He doesn't change tempo unless he wants to.
At all.
To elaborate, as that sounds sketchy unless you know how I learned it:
I'm a pretty rhythmic keyboard player, and one of my favored techniques (especially if I need to fill in empty space from, say, a missing electric guitarist in addition to the other textural stuff I was doing) is to use multi-tap delay and really accurate timing to build rhythms and and evolving chords. It can be a really fun effect.
I don't use it much, though, because even with a tap-tempo delay, which I have in my rig, it's really awkward to stay synced up with the rest of the band. My delay is pretty accurate (built-in effect on the Nord Stage, which is rather high-end. I'm pretty confident it's got sub-millisecond accuracy), and I can stay tight with it, but even decent drummers can have a hard time with that (let's hear it for teachers that make you practice with metronomes, eh?), so I usually have to adjust the tempo a few times throughout a song, and that can make things get ugly fast. A less-than-decent drummer, which is all too common, can't stay consistent enough for me to even try it. Thus, I don't (or didn't, I should say) do this much at all, despite my fondness for it.
But, when I first tried it with Bob (the aforementioned drummer), I was shocked, because it just worked. I tapped in a tempo on his first measure or two, and it stayed tight the whole way through. I really hadn't expected that result - hadn't occurred to me humans could be that accurate.
Naturally, I started trying this in various places where it fit, and so far, I can't remember a single attempt where it didn't stay synced. Granted, I haven't tried it with really dragged out delay times (nothing above about two beats of delay at maybe 100 BPM), but even so...
This is the best of both worlds, because when you need him to be rock-solid, he is, but when the situation calls for it, he can (and does) manipulate tempo intentionally.
I've told him (and others) that playing with him is like having an expressive human metronome, and I mean it. It is amazingly blissful - I can wander out into strange netherworlds of syncopation and/or ethereal tempolessness (yay for pads!) and the foundation never wavers.
I'm sure that at times, he has small amounts of drift, but given that my delay stays tightly synced with him for whole songs at a single tempo, it can't get as large as even a single beat per minute very often.
We haven't tried it yet, but someday I'd like to try him out against some sequenced stuff - I'm pretty sure that if I could handle it (which I don't think I can, yet), he'd be unphased by it, even if it got pretty thick. Live band + sequenced riffs/textures/effects could result in some pretty cool stuff.
So, all that to say:
The guy who wrote TFA is actually just providing a measurement of how consistent the drummers for these bands are. Maybe they used a click track to achieve that consistency, but as a semi-pro living in central PA (not exactly renowned for its music scene), I've found one who doesn't need the click.
"Oh, I like geeks way better than I like humans." - Mari Sarris
Been there, done that. Recording a band without multitrack is a nightmare (call it direct take). The slightest mistake that any musician may make, and there will be many, will force to re-record everything again. Small live mistakes are acceptable, in a record, they're not.
Even worse, you may record a song with the perfect groove because the band is full of feeling, and it's so perfect it hurts. But the vocalist got one note wrong. Then you stop and start over again and the groove is gone, because of a very subtle feeling of discomfort in the musicians. Maybe they're fed up with all the takes, etc. It's a lot easier to record multitracked and then ask the vocalist to correct only that note. Then you can use beautiful, great recording you couldn't repeat if you tried.
If you have a shitload of money you can simply hire the best musicians in the world and spend lots and lots of studio time to get the direct recording just perfect. But that is not viable for the most situations.
Multitracking is not only about error-correction. It's also about processing each instrument differently and keep the balance. A vocal phrase may be too loud and muffle the band, just drop the volume a little on that part or compress the vocal track. If the guitar solo is not standing out of the mix, equalise only that segment and raise the guitar track level only for the solo, etc. Also, you need to space the instruments across the whole stereo space and equalise them so they don't clutter together.
Great jazz recordings were performed direct in the studio. But that's collective improvisation, it depends heavily in the group dynamics. You can't record a jazz band instrument by instrument, it won't sound right. You can listen to "Kind Of Blue" of Miles Davis. There are small imperfections perfectly audible throughout the whole record. But it's an irrepeatable, beautiful piece of music. Would you throw it away because one sax spilled into the other sax's microphone or you can hear the musicians whisper in the studio? But we're talking about the best of the best musicians possible. And even jazz recordings are multitracked anyway, because the tracks need to be at the very least individually panned, equalised and compressed.
Don't get me wrong, I hate over-produced music. I think the role of production is to serve the music, not the other way around. I like recordings that sound a bit dirty and spontaneous, but you'd be surprised to know the amount of hard work the producer and technicians have to make it sound that way.
There's your problem. (Emphasis mine.) It's not "having fun, making music" anymore. It' "cold hard business". When I even hear stuff like "music managers" selecting "target groups" to "monetize" their "product/resource", I'm starting to feel sick. Not that It's not Ok to earn money with your music. But it should not be your dominating factor. By far. Luckily I'm pretty sure, this will not survive P2P file sharing. ;)
But it is a business. Music is as designed, packaged and sold as cosmetics are.
At the one end of the spectrum, you've got Muzak -- people who are specifically recording background music to achieve a physiologic response: calm, desire to buy, etc. They are under no pretense as to what they are doing. Artistic freedom is almost non-existent.
At the next level, you've got the Hannah Montanas. She was hired to perform exactly to specifications. She is doing a job, more like an actor playing a rock star. She is under no delusion that what she does is a business. She also has no freedoms.
At the next step it gets more interesting. You've got the Britney Spears type. She may think of herself as an "artist", but she was really just "sorted to the top". Lets say ten thousand artists sent in their music. The label says "I have a contract to deliver a band that will sell hair-care products. She fits best." So they hire the "artist," who is perfectly free to delude herself into thinking she's hot stuff, but in reality she just happened to be the best match to the goal of the label. It's no coincidence that pop stars sound similar. And despite her delusions, she really has very few freedoms.
Further along, you've got the smaller and independent labels. They're only listening for a particular "sound" that fits with their other sounds - electronica, ska, house, whatever. Their promotions, concerts, and all that other stuff align, which makes it easier to promote more of the same. But it's still business.
And at the other end, you have the self-produced or independent music. It can be any sound of any quality. Nobody promotes them, nobody works for them, and they do as they please. That doesn't mean they don't want to perform or to get paid for performing, just that they are on their own. But even they have limits. Picture some garage band at a local show deciding to play a bunch of Spice Girls covers -- they'd either get thrown off the stage, or they'd "readjust" their style back to the show. It's not total freedom at this level, either -- they have to play to their audience.
So I don't know why you "feel sick" about "music managers targeting groups to monetize their products." That's what they do at every level. Its just that some of these people have done it for a long time and are very good at it.
John