Arranging Solutions


Philosophy

I can work in a number of ways as an arranger. Sometimes the artist and producer have very clear ideas for how they see the track, what kind of lines they want from the strings. My work then is to bring these lines out, make them real, get inside this vision. Sometimes they may have already written the string parts and just need some help or advice in the orchestrating of them. And sometimes I hear the fateful words ‘do your thing Audrey’. But my philosophy when arranging is always quite simple. It isn’t my song/my track/my composition. I always engage completely with the track and become completely absorbed in the arrangements. But that is always within the overall vision of the artist, or the producer. It is hard for me not to bring my personality to the task, my emotions even, but the work is always within the overall vision.

I tend to work sonically. Meaning that I respond aurally to exactly what I’m hearing in the track. This means that a small ringing harmonic, or a frequency can almost hallucinate lines at times and I might take this as a starting point. But I do work in many different ways, it’s always up to the track to tell me what it needs. Sometimes a cool theoretical approach is needed. Sometimes I listen to the lyrics and find a concept. It’s different every time. Each task though, begins the same way; a discussion with the artist and producer about what they want. Even if it is simply for me to ‘do my thing’.

Method

Here are some practical ways to work, I offer, in which that vision can then be developed and recorded:

Large scale project: With the intention to record with the orchestra, of appropriate size for the track and arrangement.
— Initial meeting to discuss the vision and arrangements
— Arrangements prepared over an agreed time
— Demos created using samples/midi
— Further meeting to listen discuss
— Studio booked for recording
— Orchestra booked
— MD the session/conduct

Medium scale project: Using the quartet, or perhaps eight to 12 players.
— Arranging process as above
— Studio booked for recording
— Players booked
— Lead the session

Small project: Using the quartet.
Arranging process as above, but possibly less tracks or working more quickly, meeting by e mail rather than in person.

Very small project: Cello session, or one or two players, partly improvising the parts as we go.

Other options:
— Online sessions
— Recording in my own studio space. This can be solo ‘cello but there is also the potential for many other additional instruments. For instance classical guitar or winds. Or a recording using the quartet as an online, or attended session
— Arrangements prepared just in midi, using good sample libraries and mixed.