How and Why to Hire a Producer
By Jordan Tishler
Major record labels always hire producers when organizing a recording
project for one of their artists. This suggests that there is are very
good reasons to have one. Record labels, above all, never waste money!
Today, more and more artists find themselves recording on a small label
or entirely independently. Can someone like you take a tip from the large
labels to help ensure the success of your project? Hiring a producer
may just provide the edge you need.
But, what is a producer? You know who the other players in the recording
process are. There’s you, the artist, any session players, and the
recording engineer. You know what you and the musicians do, and you know
that the engineer sets up the mics and does all the knob twiddling to
get the sound recorded. So what is left for a producer to do?
Fundamentally, the producer’s job is to help you achieve the recording
that you (and your label) set out to make. This may sound like the engineer’s
role, but many elements other than purely sonic clarity go into the crafting
of your final product. On the music side of things, these may include
songwriting and arrangement adjustments, as well as coaching musicians
and coaxing peak musical performances. In the control room, there are
decisions to be made about sonic treatment and creative mixes, while
style and popular idiom must be addressed in anticipation of marketing
the disc. In short, the producer must keep an eye on the Big Picture.
The engineer is already quite busy with the technical side of things,
and isn’t necessarily listening with a view to the ultimate creative
goals of the project. Further, recognize that it is extremely hard for
any artist to maintain this view while in the thick of recording. This
view requires an objectivity which is unfair to expect of yourself while
pouring your heart into your performances. In essence, the producer is
there to help keep you on track. The producer is the go-between: translating
the artists’ needs, the engineers technical point of view, and sometimes
the label’s interests.
The producer’s role is not limited to the recording studio. Ideally,
a producer brings insight to the project’s songs long before recording
starts. Many producers are talented arrangers and songwriters who can
bolster your songs with their fresh ears. Similarly, producers have often
been around the block a few times and have many helpful hints, or even
connections, to help you promote your recording. For the indie recording
artist, a producer is a good resource for guidance about publishing,
mechanical royalties, performance rights, and referrals to the entertainment
lawyers you will need.
Of course, there are many styles of producing. However, they can be
broken down into three general descriptions which are helpful to think
about as you begin looking for a producer. First is many an indie artist’s
nightmare, producer as supreme dictator and superstar. Certainly such
producers do exist, although they are much less common today as compared
with the early days of rock and roll. Nowadays, superstar producers,
such as Don Was, take a more collaborative approach. The second type
of producer is the invisible or documentary style recordist. This producer
aims to record just what has happened during a performance with as little
influence or intrusion on the events as possible. This is a rare bird
in rock music as well, but is quite a common approach to classical, jazz,
and even blues recording where the style of music or the written music
helps define the style of listening experience expected by the consumer.
The third style which is most common and best suited to rock and roll
is producer as creative partner with the artist. This often brings together
the talents and experience of an outsider with the creativity and vision
of the artist. Let us assume that if you were to hire a producer you
would choose “producer as creative partner”. After all, it
is unlikely that you want to give up all control of your project, but
similarly if you’re going to hire someone you want someone who can
add creativity and depth to the recording.
How do I choose a producer who will work well with me? This is a very
personal judgment, but certain general principles apply. Think of this
process just as you would think about hiring a new musician. Recognize
ahead of time what you expect the producer to do for you and think about
how someone might best help you with your project. Begin your search
with some professional history of each candidate producer. Get a list
of credits, listen to past projects, talk to past clients. Remember,
however, that these are just starting points and the best basis for your
choice will be mutual “fit”.
If you were hiring a new bass player you might consider many factors:
can he sing, does she know the style you play, does he have the look,
do you all get along, can she both learn the material and contribute
to it? Similarly, ask yourself after meeting with a producer: does he
like my music, does she get my music? You want someone who is enthusiastic
about your material and knows your genre. Does he offer criticism and
is it constructive? You don’t want a wimp who won’t tell you
honestly what is good and what isn’t. At the same time you need
someone who is sensitive to your pride as a group and as a songwriter.
Does his perspective seem helpful? After all, his suggestions must seem
to you to be an improvement over the way things were.
When you boil it down, a producer is most helpful in assuring that your
project arrives where you want it because of her unique position. The
producer is a creative partner who will work hard with you to bring out
the best you and your material can be. At the same time, he is a relative
outsider, not so involved as to be blinded by love of the material. This
crucial combination of creativity and objectivity is what hiring a producer
is all about. Since time began, runners have needed coaches, orchestras
have needed conductors, and likely your next project would benefit from
the perspective of a producer.
© 1998 Digital Bear Entertainment. All Rights Reserved.
No portion of this document may be used, duplicated, or copied without
permission of DBE. |
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