The Making of “Coming Home”.

The Making of “Coming Home”.

Posted by on May 20, 2016 in Terry's Blog | 0 comments

It was my intention to put together songs that had a similar focus and brought together a common theme.

The Album originally had a different flavor, including songs that were recorded earlier, but as things progressed I could see the need to start a new, from scratch for the most part. There were two older songs that I kept on the album and remixed and remastered, but the rest of the project came from new ideas and even some new flutes.

The more I recorded these songs the more apparent it became that space and ambiance was a great way to fully express the mood of the overall project. This was an aspect of the project that seemed to take on a life of it’s own as it increasingly became more and more spacial. Before this happened the project was simply a collection of songs waiting for some larger direction and meaning. After this aspect of the creative process started, I could see a deeper totality arising out of the individual pieces. Whenever that happens, I try to follow where that process may be going and in this case, it required a lot of rethinking, and re recording of songs, along with mixing and re mixing many pieces.

Many times during different projects there is a moment when the overall, complete aspect  of the project becomes known to me and from there it really is just a matter of making that vision happen.

One of the pivotal aspects that happened during the recording of the project, was my receiving a sub bass flute from Bryan Gall. This flute seemed to have a story to tell. As serendipity would have it , it was also when I was doing a bit more research into a few indigenous people in the Early days of contact with Europeans during  King Phillips war. Living here in New England the history of these tribes is well known to many of us.

Two people stood out to me from the reading as never really having been recognized in our country’s conscious history. These were Weetamoo and Quinnapin, who were married. Being a matriarchal society, she was a sachem of her people and he was an influential part of his own tribe. During king Phillips war many things happened that would set the course of events in motion for the better part of three hundred years and I felt that besides King Phillip himself. these were two people who should be recognized not only for their efforts, but to recognize their lives as well.

The sub bass flute seemed a perfect match to this story and so it became the primary focus for these songs.

After these songs came together other aspects of the project started to fall into place as many of the songs symbolized moments throughout the day when we, as people live with nature, and embrace it’s natural cycle. So the album became not only a story of two people but a story of two people moving through their day, and also their lives. At this point I felt many of us could relate to this natural rhythm, and so it became the foundation for the project.

Most of the lower flutes were recorded with long element ribbon microphones. These mic’s are extremely sensitive and capture a lot of the natural acoustic characteristics of these flutes. The higher key flutes were recorded using two different microphones recording simultaneously. Both were large diaphragm mic’s. One mic was recording in the cardioid  position and the other was in a figure 8 position. This gave me a choice as to what recording suited best to the various flutes, as many of my flutes have very different and individual  characteristics.

I am glad that the project came together as it did. Many people I have spoken with over time, have expressed their love of these flutes, and using a sonic canvas of natural sounds seemed to add just the right touch to it.

If you want to learn more and listen to some of the project please visit my page  here

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Thank you again for your interest in my music.