Interview with Benjamin Wright:
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Q: What kind of training did you have in order to learn how to arrange and conduct strings?
Benjamin Wright: I studied at the Chicago Conservatory. I took music theory when I was in the military. In the 1960s, I did a correspondence course with Berklee School Of Music...and I have a whole lot of studio and gig experience ... and enjoy every bit of it.
Q: How did you get into the business of music production?
Benjamin Wright: After the military, I began to write and study all of the time, and it was just a matter of time before I was asked if I could write for strings. You know that my answer was "yes"! So then it began.
Q: Justin Timberlake represents polished pop music, Gilles Peterson is more the clubby and jazzy guy. Does your approach to arrangement change for the different types of personality and music?
Benjamin Wright: I always feel that "the music dictates what it needs", no matter who the artist is....and I feel that I can capture whatever needs to happen musically.
Q: What do your arrangements bring to the songs? Do you ever feel that any of your arrangements are done as well as they could be?
Benjamin Wright: First up, when I receive a song from a producer or record company, it is because they feel that something is missing to make the music better. It is my job to determine if that "something" is to add strings, horns, live players, keyboard stuff or whatever. Now, after I've finished a track and hear it on the radio or television, and can see that the record is selling Gold or Platinum, then I accept that the arrangement is standing up to the plate - meaning it is very good!
Q: What do you receive from the producer/artist? How specific are their instructions, and what kind of freedom do you have in your job?
Benjamin Wright: In most cases today, I usually receive a CD or a Pro Tools OMF File. Some people still send a cassette or a Mini Disc ... Man, I get all kinds of stuff. I have been very blessed to have total freedom and creative control when I have a job. I think that most people that call on me like the way I think musically. However, I do ask "What would you like?" in every situation.
Q: Do you work under tight deadline pressure, or do you have the time to work extensively on tracks?
Benjamin Wright: Sometimes I might get a tape and the producer says, "We need this tomorrow"! In most cases, I will get the job done on time. However, I don't like to work like that. Most times, a producer will ask "When will you be ready?" I love that, because it gives me time to do the charts, stand back and check it out, and see if it still feels good to me the morning after.
Q: What's your primary reason for using Logic Platinum?
Benjamin Wright: Let me say this. Being an arranger from the old school, I can still do charts by hand. But for the last 5 or 6 years, I have lived by Logic. I have been an Emagic user for a very long time, going back to Notator. As the program began to grow for the pro arranger, I was there.
Q: What are the features of Logic that you use most in your daily business?
Benjamin Wright: Number one: The notation, the audio, and the ability to let the producers hear what the session will sound like.
Q: In conducting musicians, what kind of a role does Logic play?
Benjamin Wright: In terms of conducting musicians, it all starts with the abilities of the notation part of Logic - and the (text) notes you can add, to assist one in the recording session. or when standing in front of a symphony orchestra or live big band.
Q: What projects are you working on at the moment?
Benjamin Wright: I am currently working on a gospel project with a large string orchestra.
Q: Do you have your own projects as a musician or producer as well?
Benjamin Wright: Yes. Louis Price, a former member of "The Temptations", and I have finally put together an 18 piece band, with three backing singers and two DJs. The name of the band is "The Price/Wright Orchestra", and we had our first gig this past week in Florida.
