Technical preparation: instrumentation, sound palettes, DAW file setup, full scores/charts, rehearsal, planning.
2.0 Album Logistics & Milestones
☐ Create a high‑level production schedule (phases: Writing, Pre‑Production, Production, Post‑Production, Delivery).
☐ Define milestones (e.g., all lyrics written by date X, all scratch tracks recorded by date Y).
☐ Set a submission deadline.
☐ Identify potential bottlenecks.
☐ Parallel processing at album level: work on all songs in rotation within each phase.
2.1 Sound World (Technical)
☐ Define sound palette – libraries, synths, outboard gear (not feelings – that was covered in the Writing phase).
☐ Do not select specific gear (consoles, tape, plugins) too early – let them emerge as songs evolve.
2.2 Rehearsal Checklist
☐ Focused rehearsals – break each song into sections (intro, verse, chorus, bridge, outro).
☐ Section‑by‑section memorization – repeat a single section until comfortable, then move to next.
☐ Daily rotation – rehearse all songs in order every day (or as many days as possible).
☐ Use a timer: 5‑15 minutes per song.
☐ For lyrics: rehearse without instruments to check phrasing and breathing.
☐ For guitar/keys: rehearse chord changes and transitions between sections.
☐ For vocals: warm up; refer to breath points on lyric sheet.
☐ Always practice with a metronome – even if final recording won’t use one.
☐ Rehearse in the same physical setup as recording – mic position, headphones, etc.
☐ Record every rehearsal – these recordings become vital for later notation and arrangement.
☐ For album projects: rehearse entire set in order at least once a week.
☐ Track progress: note shaky sections/songs.
☐ CST (Cafe Show & Tell) – perform all songs for a trusted listener weekly to get feedback and build confidence.
2.3 Arrangement / Orchestration
☐ Identify which instruments carry melody, countermelody, harmony, pads, percussion.
☐ Decide on voicing and doublings (e.g., brass 1/2 melody, 1/2 string part).
☐ Add or remove instruments in sections to build/drop energy.
☐ Create “SHORTS” and “LONGS” versions for sample realism.
☐ Plan metric modulation and tempo changes for transitions.
☐ For hybrid scores: decide notation vs. DAW programming.
☐ Note sample‑library limitations (e.g., shared legato samples for horns 1‑4).
☐ Use piano reduction before orchestrating.
☐ Create motifs/themes and plan transformations.
2.4 Score to Picture (film/TV)
☐ Watch picture multiple times; note emotional peaks, dialogue, action.
☐ Start with the end in mind; create an abstraction; define title/emotion.
☐ Spotting session (record it). Create cue sheet with timecodes and emotions.
☐ Mark hit points with timecode.
☐ BPM in 1/4 meter; determine meters based on hit points; metric modulation?
☐ Create timeline‑emotion grid (timecode vs. feeling vs. instrumentation).
☐ Piano reduction in two grand staves (sketch entire cue).
☐ Motifs/themes – note transformations.
☐ Spreadsheet to plan and track progress.
☐ Sound palette – list library patches per instrument family; libraries to use; sounds to create.
☐ Schedule / timeline; Plan A / Plan B.
☐ Notate parts; orchestrate in Dorico (use video export).
☐ Export MIDI (include tempo map and markers).
☐ Import MIDI into Logic; verify tempo changes and markers survived transfer.
☐ Remove unnecessary MIDI data; move edited MIDI into associated tracks.
☐ Adjust velocities, modulation, expression.
☐ Humanise – default (position/length 10 ticks, velocity 0), then quantise (e.g., 40%).
☐ Use SHORTS/LONGS + delay offset workflow.
☐ Automate Logic volume levels.
☐ Mix; master.
☐ Assemble picture and mastered audio.
☐ Export stems (strings, brass, percussion) with timecode.
☐ Provide reference video with music mixed against picture.
☐ Watch synced at least 3 times (timing, emotion, technical).
☐ Test on multiple playback systems.
☐ If scoring multiple cues, rotate through them in each session (parallel processing).
2.5 Notated Scores
☐ Title page (title, composer, orchestrator, publisher).
☐ Instrumentation page (instruments, players, transposed/C, duration).
☐ Proper staff layout, names, clefs.
☐ Tempo indication (metronome + text).
☐ Enter all notes.
☐ Dynamics on every staff – include at each entrance and at hairpin ends.
☐ Slurs for tonguing (WW/brass) and bowing (strings).
☐ Additional articulations (staccato, tenuto, accents, etc.).
☐ String text (divisi/unison, pizz/arco).
☐ Brass/WW text (“1.”, “a2”, mutes).
☐ Name all percussion staves.
☐ Rehearsal letters at key structural points.
☐ Text descriptions of emotion (e.g., “lyrical”, “ominous”).
☐ Timpani: initial tunings and retuning points.
☐ Harp pedal markings when needed.
☐ Hide empty staves from page 2 onward.
☐ Create a Chigiana‑style abstraction spreadsheet before notating.
☐ Verify all tempo/meter changes after entry (avoid missing “.500”).
☐ Attach hairpins to notes, not bar lines.
☐ For MIDI export, decide articulations handled by notation vs. DAW.
☐ Replace trill/tremolo notes with proper articulations for DAW.
☐ Verify all instruments within playable ranges (add lower instruments if needed).
☐ Add modulation/expression data if for MIDI mockup.
☐ SMPTE‑lock regions after aligning audio to MIDI.
2.6 Pre‑Production Project Setup
☐ Create master project schedule (weeks, milestones).
☐ Build “Pre‑Production Spreadsheet” tracking song status (lyrics, chords, structure, recording, mixing).
☐ Define sound palette (libraries, synths, outboard gear).
☐ Restring/tune all instruments.
☐ Create Logic / Luna template files for each song (tempo, meters, markers, chord track, sample rate, metronome).
☐ Decide on Plan A and Plan B (e.g., full orchestral vs. simplified mockup).
☐ Set up file naming conventions for all sessions and exports.
☐ Test hardware inserts (Voxbox, etc.) before recording.
☐ Schedule listening parties / CST feedback sessions.