Bill Stevenson Part 3: Tempo Maps

[UPDATED: July 23, 2014 - Be sure to check out Part 1, Part 2, and Part 4]

Bill Stevenson

Stevenson seems to naturally gravitate to musical experimentation. Take one of his favorite musicians, Ornette Coleman. “Ornette Coleman might be my favorite as a melodicist” Stevenson says of jazz artists. “With Ornette, he had three different careers. Those first two records he did, Something Else!!! the Music of Ornette Coleman (OJC Remasters), and Tomorrow Is the Question--those are really bebop records--but with this impending threat of him taking over the world a couple albums later, which he did. Those are some of the best be-bop records, because the melodies are so strong. Then he did that Skies of America record, where he got The London Philharmonic Orchestra to play with him--and he made them play way up high in their register so it almost sounds like a toy orchestra. That record is amazing. And then those science fiction sessions, a lot of that where there's two bands going at the same time." Stevenson continues. “Then there's all those Atlantic records. That's maybe his most accessible stuff after those first two, cause those first two--you can get them, even if you're not a musician.”

Experimentation on Only Crime’s Pursuance was not limited to song construction--it continued in the studio as Stevenson recorded the album. On all three Only Crime records he captured the drums differently. On their debut effort, To The Nines, Stevenson recorded practically the entire record with the band playing live while he laid down his drum tracks (afterwards each member of the band went back and overdubbed their instruments individually). For their second album, Virulence, Only Crime recorded the final takes of their instruments together, live in the studio--everything except for vocals. For Pursuance, Stevenson captured his drum tracks by using the recording method that he typically uses while producing other bands, which includes the laborious task of creating tempo maps.

A tempo map is a type of computer program that's function is defined in its name. Basically, it's a grid of several tempos that fluctuate throughout a particular song, which Stevenson models after how a band is naturally performing a song. Once the tempo map is created, the guitars (including bass) record scratch tracks. The original tempo map track click track is then removed from the headphone mix, and Stevenson records the drummer playing along with just the scratch guitar tracks--hopefully capturing a more organic track.

For Pursuance it took roughly four to seven days, on and off, to capture the final drum takes. Stevenson prefers not to record for 12 hours at a time, which is luxury he can afford since he owns his own studio. But that's the easy part, for the drummer will be preparing for days before ever hitting the record button, both with his own projects, and while producing other groups.