The Secret of Abbey Road’s Success? Limitations.
The Atlantic’s piece on Abbey Road has a lesson for young musicians – don’t try to be perfect.
In some ways, the process of recording music is very much the same as it was in the time of The Beatles: Stick a microphone in front of someone or something and hit the “RECORD” button.
When you listen to recordings from a generation or two ago, though, you often hear all sorts of rough edges: large dynamic transitions between loud and quiet, the sounds of oversaturated tape and tubes, instruments bleeding together. Chunked notes. Vocals that are out of pitch. Drums that drift in and out of time. Mistakes. Lots of mistakes.
Today’s creative paradox is that this human element, which often makes a song distinct or artistically interesting, is the thing which is almost always erased from modern productions.
“Do mistakes make music better?” I asked Kehew. Not really, he responded. It’s just that, when it comes to what people like about music, there was actually only one thing worse than these imperfections: perfection.
“I’ve done it and seen it many times,” he said. “Take something flawed, work on it ’til every part is ‘improved’ then listen. It’s worse. How could that be? Every piece is now better. But it’s a worse final product.”
“The trick,” Kehew says, “is a savvy or talented producer or engineer knows when to be bold and stop. To let character and roughness and lack of polish exist. I can bet most people spend more time polishing something than writing or creating the substance of it. The only cure is to work faster, more often, so you don’t treat every damn thing as being so precious that ‘It Must Be Perfect For All Time.’”
Simple wisdom, right there.