On Producing Yourself: How to Keep Thinking
like a Producer when You're also the Artist
By Jordan Tishler
So you read Recording Magazine. Religiously. You must be a musician,
songwriter, and/or audio nut like me. Chances are you do many jobs in
the recording process all by yourself which were once the job of several
individuals. You are the performer, the songwriter, and the engineer.
Yet, in the major leagues there’s this other person called a producer
who is often kind of a big deal. What does she do? The specifics are
hard to list, and this often leaves us unsure about the importance of
the role. Let’s talk about what a producer does and how you can
benefit from thinking like one.
In a symphony orchestra we clearly understand what each musician does.
Do you ever wonder what the conductor contributes? I think you’d
agree that the conductor is the glue which holds the orchestra together.
This is what a producer does as well.
The primary talent of a good producer is objectivity; honed by years
of development of “fine” ears. Producers also must be very
flexible. They are often called upon to arrange songs, coach performances,
think like a musician, think like an engineer, interface between musicians
and engineers, and practice on-the-spot psychology.
Is this really something you can do for yourself? Sure, I do it for
my own songs. You can too. On the other hand, it is darn near impossible
to do well! The major pitfall relates directly to the core of why my
clients find me valuable as a producer. You, the artist, lack that key
objectivity. Those songs are your babies. Furthermore, it is hard to
split your thinking between the creative and technical. We know what
being jack-of-all-trades can get you. On some occasions it’s better
to hire someone who is external and experienced. That outside input can
be exciting and stimulating as well.
Let’s look at some methods of boosting your success if you decide
to do it yourself. First, and foremost, acknowledge your problem: you
love your songs. When you have looked squarely into the eye of your song-love
demon and vowed to get beyond him, you are ready to begin.
Plan, plan, plan: the art of pre-production. First, don’t turn
on your studio: you have to resist the urge to jump into recording. Get
out your old, crummy boombox to record your song and arrangement. It
won’t sound pretty, but it will give you a simple picture of your
progress. Roll up your sleeves! Now is the time to analyze your structure
and arrangement. Ask yourself some key questions: Go through the lyrics
with a fine-toothed comb. Do they really say what you mean? Does the
meter and rhyme scheme work? Define the musical sections. Name them.
Use paper. Be concrete. Which instruments play where? Are the frequency
ranges of each section balanced; does each instrument have its space?
What are the rhythmic elements doing? Can you liven up the arrangement
with section changes, key modulation, polyrhythms, or syncopation? Most
important, what are the dynamics doing? Does the song sweep you along
to a powerful climax? Don’t answer all these questions in isolation.
Get together a small collection of your favorite and perhaps most commercially
successful (if this matters to you) discs and do a comparison with your
stuff. Be ruthless!
Take a hike: the key to recording and mixing. Once you turn your studio
on the demon creeps in. It is too easy to become caught up in performing
and recording. Yet, if you lose whatever objectivity you can muster,
you’re lost. To preserve this perspective you’ve got to plan
to take breaks in the process. I like to think of these breaks in three
categories: short breaks (say 10 to 20 minutes) to let your ears re-adjust
after being bombarded. You should plan these short breaks at least every
hour and a half to two hours. Remember, too, that in the past you were
assured at least a brief silence while the tape rewound. Now, with hard-disc
recorders, life is a constant sonic barrage! The long break (say overnight)
is paramount. This is where you regain the objectivity, let your accomplishments
percolate, and spark new creative juices to enhance the next day’s
work. Recognize the need to “sleep on it” before burning out
for the day.
The taste test: how to know if you’re on the right track. Before
you get completely sucked into the recording, schedule specific times
for objectivity breaks (a good time is immediately upon returning from
your “short” break when your ears are refreshed). Ask yourself:
Does this song/arrangement/track/mix make my butt wiggle? If you’re
bopping along with it, chances are others will too. Does this play well
on other systems? Judge your mixes on your killer studio monitors, of
course, but don’t forget to listen on your boombox and in your pickup
truck (must be going at least 60 mph). How does it sound compared to
your collection of favorite discs? Are the instrument and overall treatments
innovative but still consistent with your genre? Does the arrangement
and frequency balance fit stylistically? Of course, play it for all your
friends and family. Remember that your true friends are not the ones
who will say “Yeah, yeah.” Find the ones who will say, “Sounds
kinda muted, don’tcha think?”
Producing yourself is as hard as it gets, and keeping the objective
edge is the name of the game. You may find that the best results come
with hiring a professional to guide you through the process. Hopefully,
however, the tips I use will be helpful to you if you go it alone. Good
luck, and don’t forget to sleep on it!
© 1998 Digital Bear Entertainment. All Rights Reserved.
No portion of this document may be used, duplicated, or copied without
permission of DBE. |
|
|
