Bill Stevenson Part 5: Outside Views
The bands Propagandhi and Hot Water Music had positive experiences tempo mapping with Stevenson. Both groups entered the recording studio at different points in the songwriting process. When Propagandhi recorded Supporting Caste at the Blasting Room, drummer Jord Samolesky recalled that “We'd done some very basic demos--mostly for reference's sake. We may have shared them with Bill before heading down--but I think most of the tempo-map construction started when we were at The Blasting Room. Bill would start up with rough mock-ups of tempo maps, then we'd play along with them, and go back and forth with him about revisions.”
Although Propagandhi had tempo-mapped Potemkin City Limits themselves up in Canada, the drummer says that the metronomic templates were much more complex on Supporting Caste. “With so many tempo changes, pauses, and little time extensions and subtractions here and there it made it very difficult to break things down on paper” he said.
Propagandhi’s Supporting Caste.
And to make things even more difficult, Samolesky said of Propagandhi that “We have a tendency to speed things up when we get into the studio, as in ‘wouldn't this sound better a bit faster?’ So it's usually a challenge for me to crank things up a bit after we'd rehearsed most of the material at a slightly slower tempo back home with the metronome.” All these tempo fluctuations and pauses meant that programming the time changes into a computer would be a very difficult and tedious task. Stevenson's expertise with the tempo program kept the tape rolling at a much faster pace. “Our final tempo maps were much more detailed than any demos that we'd done in advance,” Samolesky said, so “with Bill doing the maps, and Jason [Livermore] doing the tracking, it was a process that was smoother overall.”
Once Stevenson had created the first tempo-map for Supporting Caste, Samolesky started tracking with engineer Jason Livermore. Meanwhile Stevenson would get right back to work on the next song's map. During breaks Stevenson and Samolesky would strategize.
Getting Into Hot Water Music
When Hot Water Music entered The Blasting Room to record Exister, they were at an earlier stage in the creation process. The members of the mid-tempo punk quartet had written their new tunes by e-mailing ideas to one another across the county. Three days before they entered The Blasting Room the band got together and rehearsed the material, then demoed with Stevenson for an additional three days. “We just wrote the songs and played them how they actually felt, then demoed everything with Bill” drummer George Rebelo explained. “He basically just took the bits and pieces of the songs that felt best to him, and just tempo mapped that.” It took Stevenson one day, working by himself, to tempo map Exister.
Hot Water Music’s “The Traps” from Exister.
Rebelo found the tempo maps particularly convenient in the editing process. Once a drum track is recorded “you can still edit what you need to edit,” he says. “It's all on a grid. If a kick drum or bass note needs to be pushed or scootched a millisecond, you can still do that in the tempo map.”
Of adjusting to the method, Rebelo explained that recording with tempo maps only takes a slight amount of getting used to--especially considering that the tempo fluctuations are modeled after the bands natural tendencies. Because the tempo does “ramp up,” he explained that you just have to remember to maybe speed up a drum fill before going into a chorus, or push the tempo a little when you hit a certain verse.
When Supporting Caste and Exister were completed, both Samolesky and Rebelo said that Stevenson's tempo mapping improved the recording of their songs. Both drummers also added that they had a great time working with Stevenson and Livermore at The Blasting Room.
Pursuance In Retropect
Pursuance was released on March 13, 2014--when I spoke to Stevenson the recording had been completed for months. I asked him how he felt about the album now that he had some distance from its creation. The drummer paused for a moment. &rduoq;Ohhhh, it's always weird analyzing your own music“ he said laughing-- “it's like, if you made the music, you don't get to comment on it.”
He continued "what I really like about where I'm at with music these days is that I have zero motivation to do anything in music for the sake of succeeding. It's like its all just music for music's sake. That affords me a lot of freedom.”