Sunday, November 27, 2011

Scene, Sandy and Sophie recording, pt 1

I've been continuing to play around with various scenes from Street Glass and have been able to expand one whose roots go back to the early 1980s. It was inspired by a song that I only heard once. I recently was able to track it down and it was a great help with the scene. I decided to make the scene the best I could, as if it had primary importance in the story, as practice for scenes that really are essential.

It came out well enough that I'd like to share it on the blog, but it's too long for a separate page like the other scenes I have up. So I'll break it up into 4 or 5 parts and add it as the main post.
This scene takes place somewhere in the middle of Street Glass, so the year would be '89 or '90. As currently written, this scene is not intended to be included in the novel. Its purpose is to practice writing, explore the earliest beginnings of Sandy and Sophie’s relationship, explore a bit of her relationship with Adam, and have some fun that wouldn’t be appropriate for the novel. As everything is in this novel, the scene is in close third POV.

Background: Adam and Sophie are members of the rock/pop band Xenith. Sophie has also started the band Obsession to showcase her solo work; she’s active in both bands. She and Adam went through a very public and acrimonious breakup of their romantic relationship a few years prior, though they’ve continued to play in Xenith.

The term “track” is sometimes used here as a synonym for the verb “record.” The term “cans” is used as a synonym for “headset.” Lennie is producer as well as engineer for Sandy’s song, with only Neal assisting him; that’s why I don’t mention anyone else. The term “studio” can be a bit confusing. Used here, it refers to the specific room that the artist stands in to sing or play, not a building. If anything else confuses you, drop me a comment.
In the studio to lay down the vocal track for one of his songs, Sandy wrapped up another effort. That hadn’t sounded right either. Standing at his mic in the studio, he shook his head at Lennie who sat in the control room with Neal. “I don’t know, maybe I don’t do this enough, but it somehow doesn’t feel right. Your piano must be off.”

Lennie laughed. “I don’t think so! Maybe the fact that’s it’s 2:30 in the morning and we’ve been at this for four hours has something to do with it.”

“Maybe it’s knowing that you’re staring at me while I’m trying to do this.”

“Oh good, how are you going to handle this live, then?”

“Ah, that’s different, I won’t have you in front of me.”

“Thirty thousand people in front of you will be better?”

As Len spoke, Sandy heard knocking at the control room door. Neal got up and went to the back of the room. Sandy swiped his bottle of water from the floor and took a drink. Four hours, damn. He should’ve been able to track a simple vocal in less than that.

Movement through the control room window made him look up. Oh God, Sophie and Adam! Sandy almost dropped the bottle. What in the world were they doing at the studio? And look at Len and Neal, chatting up Sophie. Adam looks like he might throw up.

Sandy hung his headset on the hook clipped to the mic stand and reached the door in a few long steps. Adam was in his usual jeans and dress shirt. Sophie wore a flowy deep blue dress with a sparkly necklace that dripped down the front. She tugged at a curl of her long, dark hair. She must be closing in on forty years old but man, she was hot. “Hey, hi. Those two aren’t the only people here tonight.”

“Hey ace,” Adam said. Sophie smiled.

Lennie said, “Aren’t you supposed to be working on something?”

“I need a break after four hours. It is really good to see some different faces.”

“Seriously, are we interrupting?” Sophie asked.

“Damn, no! I’m not even sure I like this song anymore, and I wrote it.”

“What’s the problem?” she asked, looking in at Sandy.

“It’s the vocal. I can’t put my finger on it, something just doesn’t sound right. I know what I want from myself but somehow it’s not coming.”

“Offer to help,” Adam said to Sophie. “That problem’s up your alley.”

She crossed her arms. “I’m not here to push myself on anybody.”

“Hey, a problem’s a problem.” He turned to Sandy. “She can nail a track in one take. Vocals are her thing.”

Lennie raised his eyebrows at Sandy. “I wouldn’t let this chance get away if I was you. Getting home before sunrise would be, like, really great.”

Adam bowed his head in Sophie’s direction and held out a hand toward her. “Miss Sophie Linn, fixer of vocal issues. Problems in the studio don’t stand a chance against her.”

She narrowed her eyes at him.

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