We recently caught up with Drum Grad Scott Coffman and asked him some questions about his experience in the Studio Production course. What we got was a lot of insight into the way the class works from creating the parts of an original song (in the studio) to the final recorded performance to what he found most valuable about his studio time.

"Deceitful Ways"

Basically, the song, which is called "Deceitful Ways*," was written in a democratic manner. The offer was put out for anyone involved, about 20 or so people, to bring any ideas they had for a song. There was a majority vote throughout the process. Really, outside of the original main ideas, which were voted on as Intro, Verse, Chorus, etc., other ideas and things such as form and solos, were done as we recorded.

The best part, for me, was the opportunity to watch my classmates, who are from many different cultures and experience levels, interact with each other in such a creative environment. Everyone treated each other with genuine respect. The hardest part was learning how to wait. The recording process can be a long one, and when you're writing as you're recording, it can take much longer. Trying to stay creative during your down time was sometimes challenging as well.

I believe the best aspect of this song is how it contains different ideas. Ideas that would perhaps be considered completely different songs in themselves. We tried to take these ideas and create a flow between them in a way that would hopefully be palatable to the listener. It's an example of where I believe music should go.

Everyone involved had an important role in how the song was either created, recorded, or both. Whether you were only part of a 'handclap' track, or responsible for writing an Intro or Verse or Chorus or a Solo, I believe all involved walked away with a sense of accomplishment. I would, however, like to acknowledge Mike Shapiro for his extensive knowledge and 'matter-of-fact' approach to the whole recording process. His experience helped us keep our focus on what our roles as musicians and composers are when in the studio. I'd also like to mention Gary Meek, who layed down the soprano sax and flute tracks on the tune. He was an incredible example of talent and professionalism of which I learned greatly in the short time he was there. Finally, our engineers whose knowledge and patience were impressive during our time in the studios. Whether recording in analog, two-inch reel-to-reel or digitally with ProTools, there was always something new to learn.

The very first thing was anyone who had an idea would go in and just record it. Usually it was a one-take recording. For this song, we recorded with ProTools, so we were able to "adjust" things as needed. After all ideas were down, we listened and voted on which ones we wanted to use. Then we decided on a rough form; which part would be good for a Verse or Chorus, etc. Those parts would be doubled and tripled, recorded by the composers of those parts, of course. Meanwhile, in another room, the lyrics were being created by the vocalists with some help, melodically, by other members of the group. Those parts were worked out, recorded, and doubled and tripled. We then started to decide on what other voicings would be complimentary to the song. We added multiple percussion instruments, such as congas, shaker, Bata drums, and various others. We also decided the tune needed soprano sax. That's, of course, where Mr. Meek came in. He also brought with him a flute, and it sounded great, so we kept that track.The guitar solo is comprised of many different players and was voted on which particular parts would stay where, and which ones would go. There was an opportunity for the many drummers to create a one-bar fill. After all were recorded, we again listened and voted on which one was best for the song. In the end, a rim shot on beat 4 won out. Gotta love simplicity! The song then was mixed and that, as they say, was that.

I'd just like to say that the whole experience was a life-changing one. There is so much to learn in the music industry and being exposed to some of it was encouraging for me. I'd like to thank my classmates and everyone involved for their part in my new motivation. Good luck and positive vibes to all!

* "Deceitful Ways" Written by: Thomas Kafel, Vincent Alvarez, Geronimo Najar, Cole Dickey, Joshua Johansen, Justin Schiada and Sarah Hart. Produced, arranged and performed by: Vincent Alvarez, Matthew Baker, Cesario Castillo, Scott Coffman, Flavio Dias, Cole Dickey, Santiago Granados, Sarah Hart, Joshua Johansen, Ryan Kang, Christopher Kentish, Marko Lazaric, Mikey Ledesma, Matthew Lopez, A.J. Martka, Nagahiro Murata, Ray Na, Geronimo Najar, Max Ng, Mads Olsen, Joe Petty, Andrew Rivera, Nathan Rivera, Andy Rogers, Justin Schiada, Toby Schulte, Kurt Seppele, Gary Tung, Miki Ueno, Yoshikuni Toda and Thomas Kafel.