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🕑 Added 2025-06-18 16:30:10 +0000 UTCChapter 183: Cautious Start
A question tinged with doubt was made simple by Ollie's straightforward and matter-of-fact demeanor.
Cliff's gaze also slowly settled on Ronan.
Maxim hesitated and struggled for a moment, his gaze towards Ronan somewhat complex. But in the end, he offered a smile, knowing deep down that this was the best choice. "Ronan, will you take the lead?"
"..." Ronan's first reaction was still to humbly decline. But feeling his teammates' gazes, especially Ollie's warm and encouraging eyes, the words that had reached his lips paused. After circling in his mind for a moment, he nodded and said decisively, "Okay."
Time-wise, they shouldn't delay any further. And so, Ronan took on this important task.
"Phew..." Ronan let out a heavy breath. He could feel the weight on his shoulders, and more importantly, the surging anticipation. Rubbing his hands together, he said to the band members, "Let the show begin!"
Professional band recordings require the singer and the band to record separately. Even the sound pickup for each instrument must be done individually. This means that while the entire band plays together, only one instrument is recorded at a time to ensure there's no background noise.
Of course, this kind of recording can be too polished, lacking the raw energy of a live band performance. That's why many bands choose to record collectively – the entire band plays and is recorded together, truly finding the resonance between instruments and creating the feeling of a live performance.
Both recording methods have their own advantages and disadvantages, and neither is inherently better. Ultimately, it comes down to the band choosing based on their style and circumstances. It's also very common for the same band to choose different recording methods for different albums or even different songs.
But what's certain is that the feeling you get from an album is still completely different from a live show. The resonance throughout the space and the atmosphere of the venue are different, and because of this, the listening experience is also different. If you love music, no matter what singer or band you like, you absolutely must go see a live performance in addition to listening to albums. It's always a unique experience.
Ronan sat down at the soundboard directly in front of the recording booth, looking at the dazzling array of buttons. For a moment, he felt a bit dizzy and overwhelmed, not knowing where to start. But Ronan didn't panic. He took a deep breath, calmed himself down, and started to observe slowly and methodically.
The journey back to the recording studio, from his previous life to this one, had been full of hardships. He shouldn't let excitement and euphoria cloud his judgment. On the contrary, precisely because it was so rare and difficult, he needed to cherish it and invest himself in it even more. He needed to focus on his work.
At first glance, there really were too many buttons, and it was impossible to know where to begin – much more complicated than the intuitiveness of computer software. But if you quieted down and patiently explored, you could quickly get the hang of it, and it was actually easier than computer software.
This was because the functional areas were divided very professionally and clearly. Moreover, the detailed breakdown of specific functions completely blew computer software out of the water, ensuring that the producer could control and create as they wished.
While Ronan was familiarizing himself with the soundboard, the three band members had already entered the recording booth, selecting instruments, adjusting them, and getting used to the space. They had each completed their preparations.
Actually, the melody and chords of "Chasing the Light" are very simple, without too many tricks. They straightforwardly express the purest and most genuine emotions from the heart. But Ronan had put a lot of careful thought into the arrangement.
For example, using classical instruments like the cello and violin to enhance the grandeur of the melody, and using the drums and keyboard as the main melodic instruments to create a sense of power. But he tried to minimize the noise from electronic sounds, ensuring the cleanliness and lightness of the melody itself, and then using layers to showcase texture.
From the perspective of the finished product, these subtle touches are often difficult to capture by ear. Of course, with high-end audio equipment, you can distinguish the layers of the melody through the separation of high and low frequencies. But most ordinary headphones can't differentiate the layers; the ears can only perceive the light and simple melody, and may even only catch the interplay between the keyboard and drums.
However, the complexity of the arrangement is an important step in simplifying the final sound. It's precisely because of these delicate, intricate, and unseen layers that a three-dimensional auditory experience with a sense of "architectural space" can be created, without being overwhelming or noisy.
During the opening performance for Bruno's concert, the band hadn't finished the recording work. They were only playing with their band instruments. To some extent, this made the melody seem simpler and lighter, but it lacked sufficient layering, and the three-dimensional sense of architectural space wasn't fully realized, making it seem a bit thin.
In Ronan's words, it was a "rough, simple version."
Now that they were entering the recording studio for the official recording work, it meant Ronan had the opportunity to create the complete version, truly showcasing the three-dimensional sense of space. He naturally wouldn't miss this chance. But it also meant that the band's melody recording work would be very tedious and complex, definitely not an easy task.
Given the current state of One Day King, time was limited. They had to ensure the best possible recording results within a short period. So, Ronan decided to combine the two recording methods. First, the band members would play together to record the main melody. Then, the classical instruments would be recorded individually, meticulously outlining the details and layers, hoping to create the effect Ronan was aiming for and finally synthesizing a complete song.
So, Ronan calmed down and studied the soundboard, letting himself get back into the working state of the recording studio. The band members, meanwhile, collectively entered the recording booth.
"Ready?"
Ronan pressed the red button on the soundboard and spoke into the microphone, communicating with his teammates in the recording booth.
Entering the recording booth meant entering a truly soundproof space, ensuring that outside noise would absolutely not affect any of the tracks inside. All communication had to be done through microphones and headphones.
Similarly, standing inside the recording booth, the entire space was quiet. The microphone pickup was very sensitive and could accurately record all sounds.
Therefore, during the recording process, the band members had to wear headphones—
You can think of the headphones as having the same effect as in-ear monitors, directly transmitting the sound of the backing track into the ears while isolating surrounding noise. However, the requirements for recording studio headphones are not as strict as for in-ear monitors because there's no interference in the studio. The headphones only need to transmit the backing track, so the soundproofing is relatively simpler.
Sometimes, singers only wear one side of their headphones during recording to ensure they can hear the backing track while also hearing their own singing voice. This is different from the in-ear monitors used on concert and award ceremony performance stages, and it stems from the reasons mentioned above.
Chapter 184: Rookie Mistakes
During the recording process, the sound coming through the headphones of the singer/musician is called the "wet sound." This includes the accompaniment and the vocal melody, and it's usually the master track. This is to ensure that the person recording can listen to the accompaniment, stay on beat and in tune, and then sing or play into the recording microphone.
At this point, what the recording microphone picks up is the "dry sound." This is recorded into the computer, meaning the recording engineer at the sound console gets a purely clean sound, ensuring there's no extra interference or noise, and also ensuring they capture the singer's original voice without any modifications or adjustments.
This is also known as "listening wet and recording dry."
It's precisely because of this that the recording studio fully and clearly presents all the sounds of the performance and singing, exposing every advantage or disadvantage in the vocal delivery and performance, leaving nowhere to hide.
In the globally popular talent show "American Idol," the famous judge Simon Cowell created many famous quotes. One classic jab was "This is just karaoke level." The corresponding praise was "This is recording studio quality."
So, what's the difference?
In karaoke, the sound of the accompaniment is too loud, drowning out the performer's singing. The two key factors for measuring singing ability, timbre and rhythm, are almost impossible to discern. Even the pitch might have imperceptible deviations, so it's naturally impossible to recognize the performer's true level.
As a result, karaoke often gives people the illusion of being a "singing king/queen." Even people who are completely tone-deaf can create the feeling that their "performance isn't that bad" by simply increasing the volume. As for rhythm, pitch, and timbre, they are all completely submerged in the accompaniment.
But the environment of a recording studio leaves performers with absolutely nowhere to hide. It amplifies the sound even more than a cappella, even harshly exposing every tiny flaw, especially rhythm and pitch. Even the lowest standards of a recording studio can already be considered professional performer level.
Of course, what Simon Cowell was referring to was the "recording studio level without computer-aided vocal correction."
It's not just about singers; the same applies to band performances.
For professional singers and amateurs, the differences in performance skills are very complex, including singing techniques, breathing techniques, vocalization techniques, and so on. But one very crucial skill is rhythm, which is also one of the biggest differences between karaoke and a recording studio.
Karaoke singing has no rhythm. The performer follows the flow of the accompaniment, and details are often lost in the noisy clutter, but it's not easily noticed. However, a recording studio performance is "dry." If the performer doesn't grasp the rhythm, the song's flow will become fragmented, even chaotic. The collapse of the overall framework and flow is unavoidable, and then the performance is a complete disaster.
This is even more obvious in band performances.
Some singers, blessed with natural talent, have an innate sense of rhythm even without learning. For them, there's no need for separate rhythm practice before working in a recording studio. But band performances require even stricter standards, just like the rhythm pursued in the movie "Whiplash."
Whether the beat is rushed or dragged, the emphasis on strong and weak beats, the fullness of emotion, the degree of dynamic variation – all of this can be clearly displayed in the recording studio space. This is the key to how an ordinary performer becomes a good performer, and how a good performer becomes a top performer.
Classical music is like this. The finalists in those international piano competitions are all geniuses. Their actual playing is basically flawless, but these details allow you to feel the subtle changes in emotional input. This chemical reaction is called "expressiveness."
Popular music is the same.
This is also why Maxim finally admitted that Ronan was the most suitable choice as a recording engineer and producer. As Ollie said, Ronan had been in charge of this kind of work for the past few months, and the band's adjustments and practice were often based on Ronan's opinions.
Ronan really could capture the emotional turning points in a melody. It was like a talent, a talent that suddenly awakened after that accident at the "Noon" bar.
Now, the most suitable person to stand in the recording studio is still Ronan.
"Okay!"
Ollie was the first to make a gesture towards Ronan, and then Maxim and Cliff both gave their signals.
Ronan spoke into the microphone again, "Let's try practicing once first. No pressure, just get used to the atmosphere."
As the first "wet sound" to be output, it was actually the master track. Ronan had already done a rough recording on the computer as a reference for the band's practice. Although it wasn't perfect and had many flaws, it was still okay to use it as the "wet sound" in the recording studio, as a direction to guide them.
After all, the "dry sound" they were about to record was the main focus.
Even though the members of One Day King weren't entering a recording studio for the first time, in Ronan's opinion, this would be even more difficult than their first recording.
Returning to such a space after many years meant not only unfamiliarity and confusion, but also potential distractions from fluctuating emotions, the pressure of time, and the expectation to perform well. Plus, the certainty of not being a novice, the feeling that they should perform excellently, could actually break the balance.
Right now, that's exactly what was happening.
Ronan's expression was a bit strange. In just two short eight-bar phrases, there were already quite a few mistakes, even worse than the opening of last week's warm-up show.
But the problem was that the in-ear monitors were transmitting their own real-time performance. As long as they stayed focused, they could immediately hear how it sounded. The headphones in the recording booth, however, were transmitting the wet sound of the master track. They couldn't hear their own performance at all, so they wouldn't even know if they made a mistake.
So, disaster struck, and it continued, making the scene particularly comical.
Ollie was the first to notice Ronan's expression, mainly because he lacked confidence in himself and was always worried about making mistakes in his playing. So, when he noticed the change in Ronan's expression, he immediately stopped, took off his headphones, and then could hear Maxim and Cliff playing.
You didn't need the ears of a genius to hear that something was wrong. Moreover, without the prominent sound of the drums, the sounds of the other instruments immediately stood out, and you could instantly feel the disharmony. Maxim and Cliff sounded like... they were fighting.
Not physically throwing punches, but each stuck in their own muddy pit, like two people belting out karaoke, but their rhythms and pitches were completely out of sync, yet they were still completely unaware, immersed in the fantasy of performing in front of a hundred thousand people.
The people involved might not notice, but the onlookers couldn't ignore it. That feeling was truly... indescribable.
"Hahaha!"
Ollie couldn't hold back any longer and let out a high-pitched dolphin-like laugh that was earth-shattering and deafening. But he immediately realized he was in the recording booth and quickly suppressed his laughter. However, his body couldn't help but start shaking.
Shaking, shaking, shaking, shaking.
Chapter 185: Bumps in the Road
Shudder, shudder, shudder.
Ollie started twitching on the spot like he was sifting chaff. He was laughing so hard that when he leaned back, he completely flipped over and disappeared from view.
Because the commotion was so loud that it couldn't be missed by hearing alone, Maxim and Cliff could also sense it visually. Both of them panicked. They turned their heads together and saw Ollie lying on the ground, laughing uncontrollably. They both took off their headphones and rushed over to ask what was wrong.
"Hahahaha!" Ollie's bizarre laughter erupted again, his booming voice ringing in their eardrums like a struck bell, perfectly demonstrating "what it's like to laugh so hard you feel sick." Even though his body was twisted in a strange position on the floor, he didn't seem to feel any pain.
Maxim also sensed that something was wrong. He looked at Ollie, then turned his head to look at Ronan outside the recording booth. After a moment of hesitation, he asked, "Is it really that bad?"
Ronan pressed the red button and spoke into the microphone, "Yeah."
No extra words, just a simple and clear response, but it carried a lot of weight, landing heavily on Maxim and Cliff's chests.
Cliff opened his mouth, trying to say something, but in the end, he couldn't. He then turned to look at Ollie, who was laughing so hard tears were streaming down his face, a look of helplessness on his own. He muttered under his breath, "Is it really that serious?" but still didn't have the courage to ask what exactly had happened. He just glanced at Ronan out of the corner of his eye.
Ronan thought for a long time but still couldn't find the right words. In the end, he decided to be honest. They needed to realize the seriousness of the problem to improve their recording efficiency later. "A disaster."
Ronan dropped another bombshell, which immediately made Maxim and Cliff's shoulders slump. "Ollie, you too," Ronan then added.
Ollie, who had now awkwardly sat up and was rubbing his stiff cheeks, didn't mind when he heard his name. He just raised his hand to signal, "I know, I admit it, I accept it."
Ronan sighed, "Guys, rhythm, rhythm, rhythm, remember? Rhythm! Don't lose your rhythm just because you're too excited. It's the most crucial thing. We're not some amateur karaoke session. Don't tell me I need to hold your hands and explain what rhythm is."
The feeling inside the recording booth is peculiar. It's like suddenly being thrown into space. You can still hear the computer sounds coming through the headphones, but the sound is one-way. You can't have a conversation or communicate with your teammates. It's just you and the sound, which often makes people lose their sense of space and presence.
In a way, it's similar to the experience of having your five senses shut down, so your self-perception can easily become disordered. It's definitely a challenge.
Just now, all three band members had made the most basic and simple mistake: losing their sense of rhythm.
It wasn't a minor mistake like rushing or dragging – although those details were also present. But what was worse was the big, structural mistake.
They went from "4/4 time" to "3/4 time" and then back to "4/4 time." Cliff even inexplicably threw in a "3/8 time" from who knows where.
The entire performance was really too... "free." Not in a good, complimentary way, but in a negative sense of being scattered and chaotic. The entire framework of the song was completely disrupted, just as Ronan said, "a disaster."
"Ollie."
Ronan's voice came from above the recording booth again. Ollie, who was secretly snickering, was caught red-handed. He subconsciously looked towards Ronan and saw him standing there without any expression, no smile, no anger, just a calm gaze through the glass.
Even though his expression wasn't particularly anything, his bright eyes were scolding him, more directly than words could. Ollie's smile instantly vanished.
"Cough, cough, sorry," Ollie quickly apologized, pulling himself together. "I'm ready. Rhythm, yeah, rhythm."
Composing himself, Ollie bent down and picked up the chair he had flipped over, quickly settling back into it. Maxim and Cliff had also both gotten back into position, officially starting their second practice.
"Chasing the Light" is a very special song, seemingly simple but actually incredibly intricate. It's like a high-end music box where seemingly effortless music is produced by layers upon layers of tiny, precisely connected gears.
During live performances, it's not difficult to play because the individual melodies for the drums, keyboard, and bass are all very simple. This was one of the important reasons why the opening performance for Bruno's concert was successful. But recording it is very difficult because the layers are very rich, and the details of the entire three-dimensional spatial feel are particularly intricate. This means the recording process requires meticulous attention to detail – a huge undertaking.
The second recording, although still considered practice, made it clear to the band members that their time was limited. Therefore, every practice had to be high quality, and they needed to complete the recording work as quickly as possible.
As the first four eight-bar phrase ended, Cliff could clearly feel Ronan's gaze through the glass, resting on his shoulders.
His eyes were calm, without much fluctuation, but within that calmness, Cliff could feel a bone-chilling coldness comparable to the frozen Arctic Ocean. His muscles involuntarily tensed up. That single look made Cliff swallow hard, his throat instantly drying up.
"Rhythm, Cliff. I don't want to have to emphasize it a third time." Ronan's tone was so light and gentle, as if he were talking to a child. But this kind voice made all the hairs on the back of Cliff's neck stand on end, and he swallowed again out of fear.
In the air, there seemed to be a scent of blood.
Cliff nervously turned his head to look at Maxim and Ollie, asking with his eyes: Is this still the Ronan we know? Why does it feel like he's a different person?
Usually, Ronan was always smiling, always positive and optimistic. Even when the band's practice had repeated mistakes, he was always patiently guiding them. Today, Ronan was still the same Ronan, and his smile hadn't changed much, but his eyes were completely different, as if one look could kill.
So, was this a scene from "Face/Off"?
Cliff was a little scared.
Maxim mouthed quietly, "Who knows, maybe it's that time of the month?"
"Don't worry, if it's that time of the month, I'll let you know." Ronan's calm voice explained from the headphones. Maxim and Cliff immediately grimaced, only then realizing that the microphones in the recording booth were very sensitive, and their whispers couldn't hide.
Alice, who was standing beside them recording this scene with a video camera, was really having a hard time. She was about to lose control of her urge to laugh. Could she go outside and laugh for a while before coming back?
(End of this chapter)
