Below, enjoy the soundboard audio as D'Angelo performs his last show with his band The Soultronics.
 |
| The Electric Lady Studios promo for D'Angelo's "How Does It Feel", now available here at eBay (after clicking my eBay Partner Network affiliate link and purchasing I will receive compensation) |
Inside D'Angelo's Recording Techniques & Performance
Here is an inside look into D'Angelo's recording and performance techniques as revealed by Isaiah and Bilal in this discussion:
Based on the insights shared by Isaiah Sharkey and Bilal, D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
I. Recording Process and Philosophy
The "Record Everything" Rule: D'Angelo followed a strict policy of recording every moment in the studio
. He often preferred first takes or early captures because they contained the "initial feeling" and essence of a song
.
Capturing the "Gibberish": During the recording of Black Messiah, Isaiah Sharkey noted that D'Angelo often kept "gibberish" parts—the moments where a musician was still trying to figure out their part—because the natural struggle and discovery felt better than a polished take
.
Vocal Layering and "Scratch" Tracks: D'Angelo would often record "scratch vocals" consisting of gibberish rather than lyrics to capture the melody and emotion first
. He would then harmonize and stack these layers of gibberish until they eventually evolved into actual words
.
The "Oil Painter" Approach: He had no concept of time and would constantly "go back in and touch" his work, much like an oil painter, often spending years refining a project
.
II. Instrumental and Sound Techniques
Multi-Instrumental Mastery: D'Angelo was deeply involved in every layer of the music. He played piano, guitar, and bass, often performing the bass parts himself on tracks like "A Thousand Deaths" and "Another Life"
.
Guitar-Centric Keyboard Style: Even when playing keyboards, D'Angelo thought like a guitar and bass player
. He avoided "big huge chords," preferring a leaner, more rhythmic approach that emphasized the relationship between the right hand, left hand, and the bass line
.
"Drippings": This was D'Angelo’s term for a specific guitar technique used by Isaiah Sharkey, characterized by atmospheric, fluid melodic lines found in songs like "Till It's Done" and "Another Life"
.
Experimental Sound Design: He encouraged unconventional sounds, such as Isaiah Sharkey using a drumstick on guitar strings to imitate Johnny Guitar Watson, which became the intro to the Black Messiah album
. He also utilized "space echo" and cranked amplifiers to achieve specific textures
.
The ASR-10 and "Book Bag of Sounds": D'Angelo relied on the ASR-10 sampler and carried a book bag full of floppy disks containing his signature sounds
.
III. Rehearsal and Performance Standards
Meticulous and Intense Rehearsals: Bilal described D'Angelo as "extremely meticulous," noting that he knew every note of every part for every instrument in the band
.
Unconventional Work Ethic: D'Angelo often operated on a delayed schedule, sometimes showing up at 2:00 AM for a session or rehearsal
. However, once he arrived, he was "on fire" and "on it," maintaining a crazy work ethic that often lasted until 6:00 AM or 10:00 AM
.
Physical Preparation: To get his musicians in the right headspace, D'Angelo would sometimes smack or poke his band members right before performing to ensure they were "ready to play"
.
IV. Sonic Aesthetic and Influences
The "Dirt" and the "Grit": A core element of D'Angelo's sound, particularly with engineer Russell Elevado, was a refusal to "shine" the music
. They aimed to capture the raw, gritty vibe of the room, prioritizing "dirt" and "feeling" over "plastic beauty"
.
Gospel Quartet Roots: Much of D'Angelo's rhythmic foundation comes from Gospel Quartet music, which mixes blues, doo-wop, and a driving vamp known as "the drive"
.
Space and Intentionality: A major takeaway for musicians working with him was learning how to use space and being "very intentional" about every note played, ensuring nothing was "buried" in the arrangement
Subscribe to:
Post Comments
(
Atom
)
Posts
0 comments for this post