Thanks for the insight Gavin! (and the quick response!)Thanks for all the kind birthday wishes !!
I just wanted to ask you another couple of questions about your recording/process. Quite a while ago you posted a link in this forum to the click sounds you use (a woodblock, cabasa and tambourine sound) and some info on how you use them with regards to the tempo or feel of whatever it is you're playing or recording to. I just wanted to ask how would you use them when recording odd time signatures, and how would you approach that if you had a situation where you had to play in 17/16 or 19/16 for example?
Would you have the sounds alternating and accenting the typical phrasing of patterns like 1 2 3 4 5 6 7 in 7's and the 1 2 3 4 5 in 5's? Or would even that heavily depend on the part and phrase you have in mind?
It depends on how the odd time signature flows and the overall tempo. For instance 17/16 could be a thing like 3/4 + 5/16 so maybe I'd program the click like this. (@ = woodblock type sound) (* = cabasa type sound)
19/16 (4/4 + 3/16)
or depending on the riff - 19/16 might be phrased as a 7 + 7 + 5
of course there are many ways to subdivide these larger numbers - I'd always let the music dictate which way to feel the sub groupings. As a starting point (and without any musical reference) you can always head off in 4/4 until the point that you need to shorten or extend with a group of 3 or 5
sometimes when I'm playing a piece that has multiple time signature changes (if they are all based on the 8ths like 7/8 9/8 5/8 11/8 etc) I'll just have a steady 8th note click on a single sound with no accents. That way I can navigate the whole piece without having to program lots of different click patterns. I never want an accent on the 'one'.