This song was produced in collaboration with a fellow student, a songwriter who approached me and asked to record and develop his song ‘Rubbing Shoulders’. After hearing a demo of the song, which presented some harmonic and melodic elements of the song, we identified that it would be suitable for an indie-folk production aesthetic. The recording featured solely acoustic guitar and intimate vocals, creating an emotive and introspective quality which closely aligned with artists such as Elliott Smith and Nick Drake. As a result, a production aesthetic similar to these artists was chosen, in order to preserve the clarity and intimacy heard in the initial demo.
Before commencing the recording process, research was carried out into production techniques used in the indie-folk genre in order to inform both recording and mixing decisions. Particular attention was given to the production methods used on Either/Or by Elliott Smith, an album in which there is available information in the form of YouTube videos and articles. A key technique identified was the use of double tracking vocals and acoustic guitar often panned across the stereo image. This process creates a sense of depth whilst maintaining intimacy, due to variations between performances. As a result, this is a technique I made use of during the production of ‘Rubbing Shoulders’ in order to enhance the emotion heard in the demo.
A large proportion of the track was recorded in a bedroom, rather than in a studio. This was a conscious decision informed by performative and sonic considerations. The familiar setting reduced pressure on the vocalist encouraging a more relaxed and expressive performance, while the untreated room added natural ambience and imperfection to the performance.
The first track recorded was the acoustic guitar, as it functions as the primary rhythmic and harmonic foundation to the track. The guitar was closed mic’ed with a large diaphragm condenser microphone, chosen for its ability to accurately capture the large dynamic range throughout the song, and to retain detail throughout the quieter sections, important for retaining intimacy. This was blended with a DI of the acoustic guitar to provide extra body and detail. Care was also taken during the recording stage to eliminate phase issues between the signals, and to prevent excessive build up of low frequencies due to proximity effect. On reflection, a mid-side recording technique may have been more suitable for the capture of the acoustic guitar as it would provide greater control over the stereo image. This technique would enable independent control over the centre and side information, which can be manipulated in the mix to enhance the feeling of ‘space’ without compromising the intimacy and ‘closeness’ of the performance
I initially recorded the vocals using a Shure sm58, as this was a mic the singer was familiar with. However, with it being a dynamic mic, It did not faithfully capture the subtle nuances of the performance, a detail I was eager to capture. I therefore re-used the large diaphragm condenser microphone instead with the vocalist very close to the mic, which was able to more accurately capture the dynamic range of the vocal performance. The vocals were double tracked, with two takes recorded throughout the song. I initially intended for both takes to play throughout the track, however, this resulted in a loss of clarity and focus in the vocals. I therefore decided, to reserve double tracking reserved for the chorus sections only, where it increased width and intensity, while the verses retained a more intimate and defined single-vocal style.
As more tracks were recorded, the overall arrangement and desired outcome for the song shifted. Most notable, the chorus sections were expanded with extra instruments such as an electric guitar and female backing vocals. This created contrast between the choruses and more stripped-back verses, and added harmonic and textural reinforcement creating a more upbeat sound. This approach is heard on many indie folk songs, most notable, ‘Cupid’s Trick’ by Elliot Smith, where shifts in instrumentation serve to define each section of the song, creating more of an emotional journey while retaining intimacy during verses.
In many Indie songs, the last chorus is often developed to be the most intense, with increased textural density to create an emotional climax. This is heard on songs such as ‘Old Pine’ by Ben Howard, and ‘So Real’ by Jeff Buckley. However, this was intentionally avoided in ‘Rubbing Shoulders’, instead, the final section reduces in intensity and energy. This was achieved by a change of chord progression, and a reduction in instrumentation, such as the drum playing only the kick. This results in a more restrained and bittersweet conclusion, reinforcing the introspective tone of the lyrics and as heard in the original demo.
The main focus during the mixing stage of ‘Rubbing shoulders’ was to enhance the sonic clarity and balance of the instruments, while maintaining a natural sound. This was achieved through use of minimal compression and eq changes in order to retain natural dynamic and tonal qualities. Greater emphasis was placed on use of panning and gentle reverb to create a sense of space without compromising intimacy. Automation also played a key part throughout, most notable slight EQ and volume changes to enhance the ‘lift’ during choruses. These mixing decisions directly reflect the initial production aims, reinforcing the intimate and vulnerable qualities present in many indie-folk artists.
A sampled birdsong was added to the intro and outro of ‘Rubbing Shoulders’ in order to enhance the atmosphere and aesthetic of the track. The sample was sourced from a YouTube video which was then processed in Logic’s quick sampler, EQ’d, and added to the collective hall reverb to ensure it sat well in the mix. The use of this environmental sound contributes to a sense of space and setting, creating natural ambience before the introduction of the instrumental elements and encouraging reflection at the end of the track.
‘Rubbing Shoulders’ shows commercial viability in the Indie-Folk genre, where there is a strong audience of listeners in which intimate and emotionally vulnerable productions resonate. The production aesthetic aligns closely with artists such as Jeff Buckley and Elliott Smith, who have seen a strong increase in streaming numbers over recent years, and would complement playlists including these artists curated on streaming platforms. The combination of sonic development and atmospheric production encourage listeners to become immersed in the song and enhance the tracks appeal within this market.
In conclusion, the production of ‘Rubbing shoulders’ successfully makes use of creative and technical approaches to create an Indie-Folk aesthetic. The combination of recording techniques, arrangement and mixing decisions create a track in which resonates with listeners and has strong commercial potential.
